The Art of Fiction – A Review

The book: The Art of Fiction: Notes on Craft for Young Writers by John Gardner is not prescriptive in the same way as is Jon Franklin’s book: Writing for Story. Gardner surveys contemporary literature in general, pointing out its structure, methods, and morality. Morality in literature, for Gardner, is whether a story portrays what is real and eternally true about human life, as opposed to what is false or philosophically trendy.

His New York Times obituary quoted him writing:

“The value of great fiction is not just that it entertains or distracts us from our troubles, not just that it broadens our knowledge of people and places, but also that it helps us know what we believe, reinforces those qualities that are noblest in in us, leads us to feel uneasy about our failures and limitations.”

This quote is from The Art of Fiction. Though he won the 1976 National Book Critic’s Circle Award for October Light, he deeply offended the literary powers-that-be at the time, especially with his book: On Moral Fiction.

In The Art of Fiction, Gardner describes — the work of fiction:

In any piece of fiction, the writer’s first job is to convince the reader that the events he recounts really happened…This kind of documentation, moment by moment authenticating detail, is the mainstay not only of realistic fiction but of all fiction…It’s physical detail that pulls us into the story, makes us believe…The importance of physical detail is that it creates for us a kind of dream, a rich and vivid play in the mind.

Its value:

The value of great fiction, is not just that it entertains us or distracts us from our troubles, not just that it broadens our knowledge of people and places, but also that it helps us to know what we believe, reinforces those qualities that are noblest in us, leads us to feel uneasy about our faults and limitations.

In great fiction, we not only respond to imaginary things—sights, sounds, smells—as though they were real, we respond to fictional problems as though they were real: We sympathize, think, and judge…All fiction treats, directly or indirectly, the same thing: our love for people and the world, our aspirations and fears.

The overall method to create it:

The writer works out plot in one of three ways: by borrowing some traditional plot or an action from real life (the method of the Greek tragedians, Shakespeare, Dostoevsky, and many other writers, ancient and modern); by working his way back from his story’s climax; or by groping his way forward from an initial situation.

It’s by the whole process of first planning the fiction and then writing it—elaborating characters and details of setting, finding the style that seems appropriate to the feeling, discovering unanticipated requirements of the plot—that the writer finds out and communicates the story’s significance, intuited at the start.

Pitfalls in its creation:

The most obvious forms of clumsiness, really failures in the basic skills, include such mistakes as inappropriate or excessive use of the passive voice, inappropriate use of introductory phrases containing infinite verbs [e.g., Slapping him silly, she proceeded to…] , shifts in diction level or the regular use of distracting diction, lack of sentence variety, lack of sentence focus, faulty rhythm, accidental rhyme, needless explanation, and careless shifts in psychic distance [i.e., the reader’s nearness to the character].

And, finally, the real work that the fiction writer does:

The true writer has a great advantage over most other people: He knows the great tradition of literature, which has always been the cutting edge of morality, religion, and politics, to say nothing of social reform.

To write with taste, in the highest sense, is to write with the assumption that one out of a hundred people who read one’s work may be dying, or have some loved one dying; to write so that no one commits suicide, no one despairs; to write, as Shakespeare wrote, so that people understand, sympathize, see the universality of pain, and feel strengthened, if not directly encouraged to live on.

John Gardner describes, in far more detail, these things, the state of fiction writing up to the early nineteen eighties, and his thoughts on it all in his book. A worthy read, especially after studying a process for creating works of fiction. The Art of Fiction is highly motivational and recommended.

The Art of Fiction - Gardner

The Art of Fiction: Notes on Craft for Young Writers, John Gardner

Writing for Story – A Review

Jon Franklin, two-time Pulitzer prize winner, wrote: Writing for Story – Craft Secrets of Dramatic Nonfiction to teach authors his methods. Franklin illustrates his technique with annotated versions of his two essays: “Mrs. Kelly’s Monster” and “The Ballad of Old Man Peters,” the first of which won the 1979 Pulitzer prize. The goal of his technique is to impart knowledge and truth to readers. To paraphrase Franklin:

The secret to professional writing is a fusion of learned craftsmanship with artistic vision born of experience. The successful writer is the one who grasps the separate parts of their story and sees how those components work together to produce a compelling and dramatic tale.

Franklin’s writing process consists of three parts: outlining, roughing in the draft, and polishing. Outlining concerns the conceptual associations between the character and action which, for a short story, consists of a time sequence of five major focus narratives: the beginning complication focus, three development focuses which constitute the story body, and the ending resolution focus. Roughing in the draft (i.e., the structural level) involves the internal makeup of major focuses: sequence, emphasis, pacing, and orientation of action. Polishing entails good grammar, word usage, imagery, and principles of sentence and paragraph structure. More details of this process, abstracted from Franklin’s book, are described next. First, he describes the object of his process: the story.

Content of a Story

A story consists of a chronological action sequence that a captivating character undertakes and/or endures to solve a complication that they face. The flow from the complication’s introduction, through the action events, to the resolution constitutes a fiction story’s plot or a non-fiction story’s structure.

The resolution results, often, from a character’s flash of insight as to how to solve their problem rather than directly from the action. A story is said “to work” when a real character struggles diligently to solve a significant problem that confronts them, overcomes the problem, and becomes a changed character as a result.

Story Anatomy

Active images, built on action verbs, are the focuses of action. They are the smallest possible unit of story. Collections of these units form minor focuses. These join via simple transitions to form larger focuses glued together by increasingly complex transitions. Transitions guide the reader through changing times, places, moods, subjects, and characters. These larger focuses combine to form several major focuses that compose the principal subunits of stories.

There are typically five principal subunits in a short story and more in longer form copy. Each subunit has a specific role: the first is the complicating focus. The complicating focus consists of a series of subfocuses that grab the reader’s attention, introduce the characters, and reveal the complication that the story depicts. As examples, jokes may consist of a single image that doubles as a major focus whereas a psychological novel may consist of hierarchical image aggregations at multiple levels.

The next three development focuses (i.e., the story body) describe the actions that the character takes to resolve the complication. These are longer than the first or last focuses but easier to write. The first developmental focus enters deeper into the story and the third (last) developmental focus carries the story to the brink of the resolution.

The climax of the last developmental focus (at its end) is where the character has a “moment of insight” when they realize what they must do to solve the problem. Screenwriters call this flash of realization the second plot point. The complication is the first plot point.

The resolving focus which ends the story can be long or short but reads very quickly. This is possible because the necessary background has been laid and the character has made choices and taken actions to get them to this point. All that remains is the character’s psychological or physical action to clearly solve the problem.

Sagas

The saga is a variation on the five focus short story. Sagas consist of a major complication and resolution; but, instead of having three developmental focuses it has five, more or less, interlinked substories (or episodes) with their own complications and resolutions. These episodes interlink by presenting the complication (or cliffhanger) of the next substory either before or after the resolution of the current substory. This preserves and reinforces the tension of the story as a whole.

The Writing Process

The practicing writer is concerned with three hierarchical processes: outlining, roughing in the draft, and polishing.

Outlining

Outlining is based on complications and resolutions. There is one statement for each major focus (e.g., typically five for a short story) and every subfocus. Use a subject, active verb, and object (i.e., noun-verb-noun form) for outline statements to reduce the story to its essentials. In storytelling, the dramatic action that makes your point comes at the end of each section where the climax belongs. So each outline statement represents the focus ending.

The most dramatic aspect of any story is growth and change in the main character. The outline centers on this growth and change so that it will emerge as the story’s backbone. The outline presents the story’s drama via action that proceeds from complication to resolution.

The main advantage of constructing the outline first is in discovering structural flaws before any text is written. Structural problems can be simply resolved without wasted effort and emotional commitment. The outline is the psychological roadmap of your story and brings out eternal truths.

Rough Draft

Expanding the outline’s focus statements into rough copy marks the halfway point in story creation. Most of the creative work of the story is complete at the start of this stage. At the structural level, word choice is important only at dramatic high points.

This is where the writer constructs transitions, scene-settings, action sequences, and other products that enable the reader to slide through the story. Phrase order and sentence rhythms are not critical when roughing in the draft narrative.

Three Types of Narrative

There are three major types of narrative: transitional, preparatory, and climatic. Transitional narrative switches scenes and keeps the reader oriented. Preparatory narrative comes next and sets the reader up to understand the ensuing dramatic scene. Climactic narrative evokes the reader’s emotions via detailed action descriptions. After the climactic narrative ends, transitional narrative moves the reader to the next time and place so preparatory narrative can hasten them to the next climactic scene.

Transitional Narrative

Transitional narrative enables the reader to negotiate a story’s twists, turns, and changes without getting disoriented or lost. Good narrative makes the reader forget their reality and step into your character’s world. It establishes the time, place, character, subject, and mood at the story’s start and maintains “threads” of continuity through focus changes to the story’s end.

Three Transition Types

There are many types of transitions. Three major ones are: the break, the flashback/flash-forward, and the stream-of-consciousness appeal to emotion. The break transition breaks all five threads with typographic symbols, jars the reader, and is therefore weak. The cinematic equivalent is a fadeout or commercial break.

A flashback, if necessary, is best located immediately after the complication. It is used only once in short or medium length stories. The flashback’s danger is that it forces the reader to break with their experience of time flow, disrupting several threads and weakening others. It is a point of confusion for the reader.

The last transition method is psychological: a stream-of-consciousness emotional connection (e.g., rhyming, common movement, etc.) The human mind is easily directed by exploiting its emotional engine. Psychological transition is a very useful tool to associate images not usually brought together in order to display enduring truths.

Preparatory Narrative

Preparatory narrative follows a transitional narrative to prepare the reader intellectually and emotionally for a dramatic highpoint. An example of preparatory narrative is strong scene-building and character-strengthening text, preferably incorporating action, to help the reader understand and enter into the story.

Foreshadowing

Foreshadowing is a powerful technique used in preparatory narrative. It unobtrusively inserts details early in a story that enable later dramatic scenes to be told without explanation of background details which would distract the reader from the ongoing drama.

Climactic Narrative

Climactic narrative expresses a story’s dramatic action and accounts for almost all of a story’s emotional impact. Climactic narrative focusses tightly on events and supporting details. It never tells how a character feels or what he or she does; it shows what happens, what the character does in response, and what happens next. The proverb: “actions speak louder than words,” reflects this understanding.

In climactic narrative, you see generalizations described with detailed action that would be explicitly stated in preparatory and transitional narrative.

Creating the Rough Draft

Start at the ending of a story in order to know what to foreshadow. Write the end of last developmental focus where your character’s point of insight occurs; then write the transitional and preparatory narratives that set up the first scene of the resolution. Finally, write the rest of the resolution scenes to the end.

Next, write the story complication (i.e., the first plot point); introduce your characters, set up the situation, and bring them face to face with the problem. Capture it in as few pages as possible. Once you have the beginning, write successive developmental focuses until you’ve completed your (short) story.

Whenever your story seems to be going wrong, stop, go back to the outline, and read it carefully. Determine why you deviated and modify the story or outline accordingly. This process of refining the story per the outline and outline per the story is called calibration. Once the story and outline match (and you like the story) stop.

Pacing and Intensity

Pacing consists of transitions leading to smooth preparatory narrative cascading into dramatic scenes. Pace is determined by how rapidly the narrative moves from climactic point to climactic point within a major focus.

Intensity is built by closely focusing on the characters and surroundings. The interplay between pace and intensity is complex and can produce a variety of effects.

Cutting Dead Wood

A critical part of the rough draft process involves throwing away words. Remove unnecessary text, no matter how well written and, therefore, distracting, if it doesn’t fulfill Chekov’s law (i.e., a shotgun described as hanging over the mantel must be fired by story’s end.)

Unless you are willing to redefine the story to incorporate the distraction and remove aspects of the original story, the dead wood must be removed.

At this point, the rough draft is finished. Take a few days off to let your subconscious process what you’ve written before conducting a read through.

The Read Through

The read through should ask questions that a reader would ask: who is the character, what happens to them, what does he or she learn from the experience? What does the story make you feel?

Look for errors: is a transition too long, is a scene shortchanged, does a flashback come too quickly after the complication because the transition is too short, etc. After you make any necessary structural corrections then you can retire the outline.

Polishing

Polishing converts rough copy into clear, active, and integrated narrative that moves the story along without intruding into it.

The rules of polish are straightforward and not abstract. They are, however, one-part: logic, prejudice, authority, and tradition. The three rules of polish are: do it consciously, read and apply Elements of Style by Strunk and White, and read good writing voraciously.

Polish – Procedures

Polishing procedures, as opposed to rules, are similar to those for outlining and rough composition. Polish your story without regard to sequence, concentrating on the most critical scenes first and working from focus to focus in the order of their importance.

Once a story is completed, the lead or narrative hook is easier to rewrite. The lead helps the reader transition from their world to that of the character by establishing (or starting to establish) the story’s five threads.

Polish – Imagery and Sequencing

Polishing principles divide into image clarification and image sequencing. To achieve image clarity, make proper word choices and use strong verbs which cohere the words around it in only one way. Sequencing organizes the flow of paragraphs, images, and words to unfold the story image-by-image in a way that best accomplishes the story’s structural (i.e., dramatic) goals.

Complex sentences laden with prepositions and qualifiers alert the writer to inadequate or inessential images. If the copy seems confused, reorder the images as necessary, and rewrite them into new sentences. If the order of two images isn’t important (i.e., one doesn’t build on the other), one of them needs to be discarded.

Rhythm is important in sequencing. A series of long sentences, establishing a slow rhythm, may be broken by a short terse summation thereby adding impact to the conclusion. Rhythms such as blank verse can add psychological effect.

Recap

To sum up the results of Franklin’s process: active images build upon one another to reach an evocative statement at paragraph’s end. The drama drops off through a minor transition, if necessary, and starts rising again in preparatory text. Successive paragraphs rise and fall building towards the climax of a small focus consisting of that focus’s most dramatic images. This focus ends with a statement that summarizes the focus’s drama.

Small focuses transition one to another in sequence. Each one peaks with a dramatic summary statement. These small focuses build toward the major focus resolution where the focus statement is demonstrated. The narrative then passes through a major transition to start the next major focus. At the end of the story, the final few images of the narrative resolve the story’s complication and the story ends.

We heartily recommend Franklin’s method and urge you to read his book yourselves to discover his annotated essay examples and the numerous nuances that we, by necessity, left out.

Writing for Story - Franklin

Writing for Story: Craft Secrets of Dramatic Nonfiction, by Jon Franklin

Writing – A Review

I recommend two books on writing: Gotham Writers Workshop: Writing Fiction edited by Alexander Steele and Essentials of Screenwriting: The Art, Craft, and Business of Film and Television Writing by Richard Walter.

GWW covers the fiction writing craft–character, plot, point of view, etc.–suitable for all formats: short stories, essays, novels, etc. If I had to guess, this is one of the sources from which the myriads of writing books on the market draw their lessons. GWW purports to give the same materials you might get at an expensive writers workshop (except without the feedback, or the expense).

There’s a remarkably detailed overview of EoS on its Amazon page. I was interested in screenwriting which is covered in the first third of the book. I didn’t read the rest of the book which describes the sales and management involved in a screenwriting career.

My major take away from GWW is: rewrite, rewrite, and rewrite a third time. The idea of writing a draft, rewriting it from memory, and rewriting that one, again from memory, strikes me as an excellent way to deeply involve the subconscious in the story’s development.

I admit it goes against my personality to do this repetitive process. But I acknowledge its value and will endeavor to reduce it to practice in some form or other. My stories need more than just multiple revisions before sending them off for professional editing. These editors have never urged total rewrites because of policy (i.e., they like the return business).

EoS emphasizes developing an integrated story. Any element that advances the story and/or develops the characters is in; whatever doesn’t do these two things is out. If it moves the story or characters forward almost anything is in. However, if the story starts out as a sweet romantic comedy set in the South Bronx, don’t have the Martians invade and conquer the Earth in chapter 7.

Here’s an entire ‘Essentials of Screenwriting – Complete Film Courage Interview’ with UCLA Professor Richard Walter on YouTube. Please be aware that there are a few instances of coarse language during the interview. The following is an excerpt from this interview with a self-described crazy old hippie.

‘Most Important Thing I Teach My Screenwriting Students,’ UCLA Prof. Richard Walter, June 11, 2013