Fiction as Transportation

This relationship is obvious in science fiction, where improbable vehicles ferry readers to improbable places. But all successful fiction—whatever the genre—always transports, and, ideally, in both senses of the term.

Readers choose fiction for the opportunity to travel somewhere new. Even if the setting is one’s hometown, this fictional world feels as tangible as the “real” one, only far more causal, credible, and compelling. Even better? You get there without the misery of heavy traffic, delayed planes, or cramped seating.

But because readers can suspend disbelief, fiction can even more miraculously transport them to the territory within a novel’s covers. And, if the creator of that world commits no gaffes that fling readers back into daily reality, the magic lingers long after the protagonist’s journey ends. Every time you recall the first line of Jane Austen’s Pride and Prejudice (“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife”), or wonder if anyone could really be as good as Harper Lee’s Atticus in To Kill a Mockingbird, then you’ve confirmed that novels enchant even when you’re no longer reading them.

Tip: The novelist’s hard work makes transportation to a fictional world easy.

Perhaps that’s easier said than done. So what flings readers out of a fictional world?

~ Errors.

Novel readers want to believe in the world they’ve entered. If they didn’t, they’d choose nonfiction. But they can’t ignore the Plaza Hotel standing across the street from Grand Central Station, or female sea horses housing the developing eggs, or “All of it feels badly.” Fiction must be free from mistakes.

~ Motive.

In real life, people frequently behave irrationality. The novel’s job is letting readers escape that. Fiction must imply (though rarely directly explicate) the rationale underlying character decisions.

~ Sentimentality.

Why not leave that to greeting card writers? Fiction must “show” happiness, fear, or anger rather than using abstract generality to label any of these.

~ Conincidence.

Sometimes infants are born on the same day as their grandmothers, and lucky infants have grandmothers who materialize at exactly the right instant. Novels though, ought to avoid the response of “Oh, give me a break,” and accomplish that by setting up and foreshadowing. Fiction pleases most when it links the cause of one event with the subsequent one.

~ Tedium.

To illustrate, try typing up an actual conversation. If you think that’s painful, imagine reading one. Or a detailed description of how the detective arrived at the crime scene. Who cares? Fiction must suggest rather than replicate.

For many readers, a novel that truly transports brings incomparable joy. Don’t you want to write that book?

The Next Page—and the One After

What keeps readers turning pages, and why do you care? The first answer is complicated, the second simple. Without enthusiastic momentum, your reader—whether agent, publisher, or audience—is gone.

Happily, there’s more than one way to keep those fingers moving, because each reader turns pages for slightly different reasons. Here are some possibilities:

~ Suspense

This asset occurs frequently, because many readers and writers associate the novel with impassioned curiosity about what’s next. The supremacy of plot is somewhat genre dependent. Still, whatever your style or subject, don’t skimp on this expectation. Every genre needs some sort of tension on every page.

~ Characterization

Re-examine To Kill  Mockingbird, and its rather antiquated style might dismay you.  Why, then, do so many people list it as their most favorite ever? Few kids rival Scout’s gloriously naive sense of right and wrong. The same might be said of her extremely mature dad. Create characters one can’t forget, and readers will sigh when there are no more pages to turn.

~ Scenario

What do the Da Vinci Code and the Harry Potter series share in common? A wide range of people respond to mystery, underdogs, resourcefulness, and archetypes. Of course it rarely makes sense to replace the scenario that calls to you with a more marketable one. But it makes terrific sense to add heft, originality, danger. Can you make the Concept bigger? More enticing?

~ Emotions

Unless your characters experience them deeply, your readers won’t experience them at all. Yet belabor or “tell” about feelings, and readers still won’t respond. Emotions are concrete, dynamic responses to reality. Present them that way.

~ Secrets

Who doesn’t love them? But if we know too much or little, those whispers can irritate more than intrigue. It never hurts to map out how and when you dispense your novel’s secrets.

~ Humor 

Whether or not your novel is a comic one, exploit every opportunity for laughter, including the bleak irony of tragedy.

~ Poetry

Some novelists write so beautifully that we want more and more and more. At least occasionally, join them.

~ Intellectual curiosity

Those interested in classical music, RNA, or history can’t wait to see what Richard Powers will teach them on the next page of The Gold Bug Variations. What’s your audience curious about?

Whether drama, originality, voice, insight, or point of view, there’s more than one way to keep readers losing sleep and missing calls because they can’t put your book down.

Tip:  Know, internalize, and use your best tricks to keep the pages turning.

Question Whether You Question Enough

Tip: Nonfiction is for answers. Fiction is for questions.

Certainly, fiction has much to teach, and not just about society or morality, but also about ornithology, teen pregnancy, Victoria’s reign, the Song of Songs, and so on. But if fiction accomplishes this teaching with a sound that’s overtly educational, most readers close the book. What’s the solution? Questions.

The questions that propel fiction originate in the writer’s own questions:

~ Who is the audience?

~ Why struggle through this when I might make more money at McDonald’s?

~ Does my plot deliver my theme?

~ Wait. Do I have a theme? If not, do I need one?

Start there. Then consider your writing lifestyle. Maybe, like many writers, you’re addicted to critique, conferences, coaching, and a canon composed of brilliant minds like John Truby’s, Robert McKee’s, Donald Maass’s, John Gardner’s, and so on. Great!

Yet instruction doesn’t necessarily pose questions the way that good feedback does. Do you let rules or explanations bury the fundamental questions?

Whether you struggle with your first or twenty-first draft, work alone or with a group, certain questions always apply:

• Is your scenario original and electric? Too good to ignore?
• Does at least one character evoke empathy?
• Do you capitalize on your point of view?
• Do you open the first chapter, and every chapter and scene thereafter, with a big bang?
• Do the details support the story, or mostly your own subjective interests?
• Do you dramatize what’s truly exciting, and summarize what isn’t?
• Does your plot keep readers turning pages?
• Is your story more important to you than your readers are? (Oh, oh.)
• Are too many of your sentences annoying?
• Does your novel ask more questions than it answers?

The best fiction leaves us with questions. Nathaniel Hawthorne wonders whether hypocrisy is more contemptible than adultery. F. Scott Fitzgerald invites us to decide what the past means. Harper Lee asks if we ever considered the connection between innocence versus racism or sexism. Tracy Chevalier questions whether we noticed how many women influenced a history peopled with men. Jonathan Franzen speculates on the meaning of “purity.”

If you prefer answers to questions, is fiction the best genre for your tastes and talents?

Do you serve a buffet?

Long, food-laden tables aren’t just popular because of all that food. The variety attracts. So does the freedom. Once you pass the meat and seafood and advance to the salad items, you can always return for one more shrimp. You can circle the table to sample a mini-brownie before you dig into that crab cake. It’s all available at whatever order and pace you choose.

Readers can’t control fiction that way. However obvious it seems, it’s significant that nearly every reader proceeds in a linear fashion. Of course one can skim, backtrack, or peek at the ending. What readers can’t do is position the setting beside the dialogue or help themselves to more of this and less of that. The buffet that fiction ought to provide is the writer’s gift and responsibility.

Why wouldn’t every writer host a buffet every time?

• It’s easier for writers to focus on one thing at a time, such as dialogue.
• It’s easier not to shift gears, because then you don’t need as many transitions.
• If you adore setting, for example, you might overdo it at the expense of action.
• If you see the complete picture already, you might not notice its absence from the page.

 How can you break this habit of offering only desserts or appetizers instead of a full buffet?

~ Improve your skill with transitions.

Make friends with transitions. Once you bridge acting with thinking, tension with backstory, and so on, you’ll shift more willingly, knowing your readers can follow. Build transitions from the underlying similarity between what’s going on and where, between gesture and symbol, and between rumination and behavior.  What better way to engage reader emotions than to create a whole world instead of one part?

~ Read like a reader.

As Harper Lee put it in To Kill a Mockingbird, imagine someone else’s consciousness by willingness to “climb inside of his skin and walk around in it.”  This isn’t easy. It is doable.

~ Imitate reality.

When we converse, we still notice surroundings. If we terminate a job, investment,  friendship, or marriage, we experience a range of emotions, all of which impact all our perceptions. For credibility, fiction must re-create a world where more than one thing goes on at a time. That’s reality. Fiction must follow.

~ Accentuate with contrast.

Description matters in novels only when it supports the characters. Tension enhances dialogue, which enhances action. “Light can only be understood with the wisdom of darkness,” said Ka Chinery. Since readers can’t supply what’s missing, make sure that you do.

Tip: Break the habit of long stretches of dialogue, description, or narration. Blend them.

Don’t Ditch Your Novel

Rejections. You might think you prepared yourself. You probably didn’t. The longer you worked on a book and the harder you hoped, the more it hurts. It might hurt worse that loved ones who aren’t writers don’t completely understand. The clash between book and business is an ugly one. Suddenly you’re a wordsmith without the words to communicate disappointment—the pain.

Clichés you would normally never use fill your tortured mind. “I can’t believe how bad this hurts!” “My insides are emptied out.” “It’s like being kicked in the stomach.” “No one will ever love my book.” “No one understands me.” “I’m a failure!”

But after all the time, energy, and heart you already invested, does it make sense to cower in a corner? Lick your wounds in the dark? Of course not. Grace Hopper, a Navy Rear Admiral born in 1930, who surely had her share of disappointments, said, “A ship in port is safe, but that’s not what ships are built for.” Didn’t you build your book for readers? Go get some.

Tip: Don’t give up on your book too soon. Watch out how you define “too soon.”

If it feels as if you’re starting fifty steps below square one, read Chuck Wendig’s superb blog on rejection at terribleminds.com. And try these.

~ Remember why you want to be a writer—and why you poured your heart into this book.

           “You must stay drunk on writing so reality cannot destroy you.” ― Ray Bradbury

~ Maintain your sense of humor.

            Here’s what they told Dr. Seuss about “And to Think That I Saw It on Mulberry Street:

“Too different from other juveniles on the market to warrant its selling.”

~ Learn from any criticism you’re lucky enough to receive.

“Every rejection is incremental payment on your dues that in some way will be translated back into your work.” – James Lee Burke

~ Stand up straight. Don’t slouch.

“I would advise anyone who aspires to a writing career that before developing his talent he would be wise to develop a thick hide.” — Harper Lee

~ Redirect your emotions.

“Was I bitter? Absolutely. Hurt? You bet your sweet ass I was hurt. Who doesn’t feel a part of their heart break at rejection. You ask yourself every question you can think of, what, why, how come, and then your sadness turns to anger. That’s my favorite part. It drives me, feeds me, and makes one hell of a story.” — Jennifer Salaiz

~ Write something.

It’s fine to start out negative. But swiftly assume figure skater mentality. If you fall, get right up and execute the next leap. That’s what skaters and writers do. After all, “A blank piece of paper is God’s way of telling us how hard it to be God.” — Sidney Sheldon

          

Deus ex Machina

Picture this. On page 288 of a 289-page book, Cali is besieged. Sharks below. Jellyfish at the surface. Copters armed with assault rifles above. But wait! Look! Out of nowhere, a boat materializes on the horizon. Whew. We’re relieved she’s safe, but—uh, why? What conveniently brought this rescue at exactly the right moment?

A miraculous intervention, that’s what. As Aristotle observed in the Poetics (about 335 BC), the solution must be “necessary or probable” rather than a “contrivance.”

He referred, quite literally, to a device used in ancient drama. A trapdoor opened, releasing a machine of the gods (deus ex machina). It rescued whoever perhaps deserved it—but not due to personal assets or forethought. In other words: an artificial escape from dire straits.

And that’s just the problem. Successful endings build from characteristics, opportunities, and possibilities that the author foreshadowed, preferably in the first chapter. As Robert McKee put it in, Story: Style, Structure, Substance, and the Principles of Screenwriting:

Deus ex machina not only erases all meaning and emotion, it’s an insult to the audience. Each of us knows we must choose and act, for better or worse, to determine the meaning of our lives...Deus ex machina is an insult because it is a lie.

That’s a heavy indictment. Also an entirely true one. Story, whether Greek tragedy or contemporary urban fantasy, is an inherently moral art form. Certainly it’s about entertainment. Fiction we don’t enjoy is only for the classroom (and maybe not even there). The primary purpose of most stories is still a moral one. How can that possibly happen if either the protagonist—or the novelist—relies on a perfectly timed, perfectly improbable miracle?

Yet plenty of worthy writers have resorted to this or something resembling it. There’s Aeschylus, Euripides, Shakespeare, John Gay, Moliere, Charles Dickens, William Golding, and J. R. R. Tolkien. That’s not the point. Why use it unless you must? Here’s how you needn’t.

~ Foreshadow.

            At least once, hint at any trait, character, or device you’ll need later on.

~ Supply almost but not quite hidden strengths.

In Harper Lee’s To Kill a Mockingbird, Atticus and Boo have qualities they’ll use later on. Because that’s set up in advance, nothing feels like cheating.

~ Use character arc.

What drives fiction? Struggle induces the protagonist to learn and develop. What earns a happy ending? The protagonist deserves it. Isn’t that more fun than the miraculous save?

~ Let the journey resolve the journey.

The ending should come from how each mistake or misstep or act of profound selfishness prepared the protagonist for this moment. What’s moving or memorable about a well-armed boat materializing out of nowhere?

Tip: Give your readers the pleasure of an earned rather than contrived ending.

Metaphors: Apt or Inept? Part I

Tony Hoagland says that

the only adequate way to describe [a metaphor] is by another metaphor.  It is a mystery hand going into a black mystery box.  The head says, “Fetch me a metaphor, hand,” and the hand disappears under a cloth.  A moment later, the hand reappears, metaphor in its extended palm.... A metaphor... is a fetching motion of the imagination.

That sounds great! But what does it mean? A bit less poetically, John Frederick Nims explains:

“Metaphor” is from the Greek word for transfer. In modern Greece, one can see delivery trucks with the word “METAФOPA” painted on their sides, they are metaphors on wheels, as it were, transferring goods from one place to another.  When we use metaphor, we transfer to one thing the identity of something else that we associate with it, as when we say that the heart of a cruel man is a stone or that a grumpy man is a bear.

Robert Frost called metaphor “saying one thing in terms of another.” More formally, the New Princeton Encyclopedia of Poetry and Poetics defines metaphor as ”a…figurative expression, in which a word or phrase is shifted from its normal uses to a context where it evokes new meanings.”

Is this relevant to novelists? Orson Scott Card believes that “Metaphors have a way of holding the most truth in the least space.” A good plot makes vicarious experience concrete for the reader—functioning as a metaphor for the theme. Metaphors add layers: the Mississippi as the road of life; a white whale as arrogance; a mockingbird as an innocent who only wants to sing.

Harper Lee’s getting lots of attention these days. Why? Because the mockingbird is a perfect metaphor for destroying innocence, whether child, outcast, or defendant. The metaphor she chose is permanently imprinted on our collective memory:

“Shoot all the bluejays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird.”

That was the only time I ever heard Atticus say it was a sin to do something, and I asked Miss Maudie about it.

“Your father’s right,” she said. “Mockingbirds don’t do one thing but make music for us to enjoy.  They don’t eat up people’s gardens, don’t nest in corncribs, they don’t do one thing but sing their hearts out for us.  That’s why it’s a sin to kill a mockingbird.”  -- Harper Lee, To Kill a Mockingbird

But what if she said “It’s a sin to kill a goat. After all, they just eat. Where’s the harm in that?” Would that substitution insure our continuing reverence for the name “Harper Lee”? Make us eager to hunt down anything she ever did or would write? To put it another way, “Would anyone still stalk the diamonds she penned?” Yeech.

Tip: A bad or mixed metaphor is much worse than no metaphor at all.

For what reason? If metaphors are so great, so haunting, why not just use them any way you want, as often as you want? Next time, the ten commandments of metaphor will offer ten reasons why.

Goldilocks and the Novelist’s Perspective

Figuring out what your reader needs can resemble being lost in a deep, dangerous forest, where every possibility seems overwhelmingly excessive or inadequate. No, you’re not hunting a bowl of porridge. But if you need to describe one, how can you know what’s neither too much nor too little but just right?

One of the wisest and most appealing dads from all literature had an answer. Atticus Finch from Harper Lee’s To Kill a Mockingbird advised going outside yourself: “You never really understand a person until you consider things from his point of view... Until you climb inside of his skin and walk around in it.”

That’s no easier to accomplish writing fiction than outside it. Still, objective diagnosis might just help you “climb inside.”

Novelists tend to focus on plot and language. While both are crucial, neither gets you “inside” anyone. These elements might.

~ External and internal detail.

Most writers lean on one or the other, but readers need both. To fulfill that need, consciously evaluate whether every scene offers inner and outer worlds.

~ Immediacy from the character and guidance from the narrator.

Context—in the right amount and at the right moments—lets readers experience the greatest possible appreciation of the conflict.

~ Distance and proximity.

Readers love close-ups of characters, but those close-ups become most meaningful when readers see both character dilemma and the impact that the outside world exerts on it.

Although these tools help you diagnose, you’ll still wonder if there’s a surfeit of psychoanalysis or setting—whether this detail makes the scene vivid or clutters it.  You’ll still need readers to help you, probably more than one of them and definitely ones with no agenda. Beware input from those who love you or your genre to pieces or envy you enough to contemplate tearing you to pieces.

Start, though, with imagining the world from under the reader’s “skin.” Then you’ll have your eye on a balance of those complex ingredients that make every novel more than the sum of its parts.

After all, Goldilocks is a kind of magic, an improbable tale of anthropomorphic bears who still resonate after all this time. The dream of balance both underlies that magic and helps create it. Balance the frequently ignored elements of fiction and you, too, can make magic by creating a world so real and welcoming that no one ever wants to leave. Because it’s “just right.”