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?

Too Good to Be True?

How good can a good protagonist really be? In a recent N.Y. Times “Bookends,” Thomas Mallon rightly observed that, “No one has ever preferred Amelia to Becky Sharp in Vanity Fair, or Melanie to Scarlett in Gone with the Wind.”

Tip: Perfectly good is perfectly—boring.

Good protagonists must be morally sound, but definitely troubled and definitely rebellious about constraint. Too selfish makes them unpalatable. But too perfect and they swiftly become at best uninteresting and at worst mildly self-righteous. To inspire and excite, protagonists need to get going with enough oomph to offer:

~ Fire.

This might be the main ingredient. A good protagonist has a great deal to gain or lose. Passion makes people care enough to act, screw up, and have another go. That journey makes fiction fiction.      

~ Arc.

If your character starts perfect, where can she go? The fun of fiction is watching someone conquer something, whether that’s the snotty guy with the huge estate (Pride and Prejudice), the power of death (The Fault in Our Stars), the mystery of the genetic code (The Gold Bug Variations), anyone who opposes the Borgias (Blood and Beauty), or an early crop of crooked bankers and lawyers (A Conspiracy of Paper).

~ Voice.

Especially in first person, the protagonist must be charming, funny, dramatic, and mysterious. Something very much out of the ordinary. Often someone with passionate opinions, but a nice sense of humor about them.

~ Desire.

This needn’t be sensual, just a motivation for action. Too much politeness, modesty, resignation, even stoicism can be unappetizing. If you think everyone and everything is fine, you won’t take many risks. This might be a terrific way to live. Just not in a novel.

~ Credibility.

As a friend recently said, we’re all “emerging.” Anyone delighted with his or her “goodness” is too arrogant (and naïve and misinformed) to really be that good. Real people are flawed people. Preferably a bit honest about it. This goes for protagonists, too.

~ Inconsistent consistency.

That’s another way to spell “credibility.” If your protagonist has a weakness (and your protagonist must), then this might generate a succession of similar mistakes. But if your protagonist always repeats exactly the same mistake, or never makes one at all, readers won’t believe, won’t care, or both.

~ Resolution.

Nice people can be very accepting, very forgiving, very tolerant—very lovely to be around but not to read about. Protagonists judge and act. That’s the source of story.

A good protagonist is one who’s good enough—and no better.

Avoid Accidents!

Accidents can work wonders. People meet and fall in love, and perhaps if no asteroid hit the earth about 65 million years ago, no one could write or read this blog. But accidents and fiction are badly matched.

Plenty of accidents annoy or destroy. We leave the bread in the oven too long, saw lumber a quarter inch too short, delete favorite photos while making space in the Cloud, blurt painful things that never entirely disappear. Only the last one drives fiction. The others are entirely realistic and could deepen plot. Yet something’s missing.

Try this. “Prudence was minding her own business, when suddenly she decided to visit her mother’s grave, quit her job, end her marriage. Or she didn’t decide a thing, yet suddenly got struck by lightning, or a teen toying with his new handgun, or a car careening onto the sidewalk.”

Poor Prudence. Poor reader of a novel about Prudence. Suddenly? That enhances fiction about as much as “Meanwhile, back at the ranch…”

Fiction traces motive. Why suddenly end her marriage, and why’s she ruminating during the storm, especially when a random car veers onto the sidewalk? Why watch her ruminate at all?

Active choices have driven fiction for centuries. Even a novel as blatantly moralistic as Samuel Richardson’s “Pamela” (1740, subtitled “Virtue Rewarded “) examines motive. Squire B doesn’t make his move until his mom dies, and Pamela mistrusts her supposed benefactor. After probing human behavior and its result, the novel concludes both happily and morally.

Today’s readers might not call this book “licentious,” balk at class difference, or applaud Pamela’s obsession with chastity. But they might all agree that the book’s core is what the character must learn, just as Darcy and Elizabeth must unlearn pride and prejudice in the novel of that title. Some things never change.

How much can characters learn from random events, however tragic? Such events reveal heroism and weakness. Sometimes they reveal whom we really love or what really matters. Yet fiction’s most intriguing messages involve dilemmas, human choices, and their resolutions. So you might try the following:

~ Watch for the word “suddenly.” Is it an easy solution to a fictional issue you’d be better off solving?

~ Beware external events as plot pivots. Yes, war, tornadoes, and forest fires change lives. But can they contribute as much as revealing human psychology through—human psychology?

~ Trace the consequences of decisions. In real life ambivalence determines lots of outcomes; we simply refuse to decide—and something results because of that. But how powerful is inaction in fiction? How powerful are outcomes based on external forces rather than personal choices?

The greatest stories trace not battles, but character response to them; not famine, but character response to it, not poverty, but character response to it. Does your novel rely on unfortunate or tragic happenstance, or on the outcome characters earn or fail to? We look to fiction for what life doesn’t provide.

Tip: Accidents are part of life but serve minimal purpose in fiction.

That Tricky First Sentence: Individuality and Integration

Every opening—for each chapter and scene—is crucial. But the first is most crucial of all.  Along with the familiar openings of Jane Austen’s Pride and Prejudice, Charles Dickens’s A Tale of Two Cities, Leo Tolstoy’s Anna Karenina, and Ralph Ellison’s Invisible Man, haunting openings usually need  no context at all:

They shoot the white girl first. – Toni Morrison, Paradise

The sky above the port was the color of television, tuned to a dead channel. – William Gibson, Neuromancer

Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice. – Gabriel García Márquez, 100 Years of Solitude

Every summer Lin Kong returned to Goose Village to divorce his wife, Shuyu. – Ha Jin, Waiting

Time is not a line but a dimension, like the dimensions of space. – Margaret Atwood, Cat’s Eye

Yet, as Chad Harbach observed in The Art of Fielding,

It was easy enough to write a sentence, but if you were going to create a work of art, the way Melville had, each sentence needed to fit perfectly with the one that preceded it, and the unwritten one that would follow. And each of those sentences needed to square with the ones on either side, so that three became five and five became seven, seven became nine, and whichever sentence he was writing became the slender fulcrum on which the whole precarious edifice depended. That sentence could contain anything, anything, and so it promised the kind of absolute freedom that, to Affenlight’s mind, belonged to the artist and the artist alone. And yet that sentence was also beholden to the book’s very first one, and its last unwritten one, and every sentence in between.

Sentence Revision Exercise 1

Just for fun, model the first line in your book after the structure of an opening sentence you love. Now transform your sentence into something that actually works, perhaps a combination of your original sentence and the one from this exercise. What did you discover? Can you apply it?

Sentence Revision Exercise 2

View your first sentence as the launch pad for everything else. Is it powerful enough? Does it hint at what’s crucial and set up the climax? Revise until it does, to improve not only that essential sentence, but your understanding of your entire novel.

Tip: The opening sentence must stand on its own and foreshadow every sentence to come.

Beauty and the Best

America’s literary giants had plenty to say on the subject. Romantic Edgar Allan Poe asserted that “Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears.” Who could argue with that? Or with Ralph Waldo Emerson observing that “Love of beauty is taste. The creation of beauty is art.”

It’s no newsflash that interpretations of “beauty” or “art” vary widely. In fiction, though, beauty comes from characterization, from causality, from imagery and rhythmic syntax.

~ Characterization.

The more rapidly and insightfully you can develop a character, then the more exquisite the impact. In Ten Little Indians, Sherman Alexie does it in one sentence: “She wanted to be buried in a coffin filled with used paperbacks. ”

*** Are you gathering examples of characterization that strike you as particularly  concise and true? Are you seeking ways to accomplish this yourself?

~ Causality.

Jane Austen’s novels end happily because the characters mature enough to earn their happiness. Darcy overcomes pride and Elizabeth overcomes prejudice because neither can bear to lose the other.

***Are you noticing examples of causality? Does causality drive your own novel? Shouldn't it?

~ Imagery.

The best imagery works both literally and symbolically. It infuses the trivial with significance; it makes the ordinary extra-ordinary, but without calling attention to itself, like this example from Bernard Malamud’s The Natural:

Roy Hobbs pawed at the glass before thinking to prick a match with his thumbnail and hold the spurting flame to his cupped palm close to the lower berth window, but by then he had figured it was a tunnel they were passing through and was no longer surprised at the bright sight of himself holding a yellow light over his head, peering back in.

*** Do you catch yourself using three or four or five images? Does this suggest vague awareness that you haven’t found the right one?

~ Syntax.

Rhythm and emphasis can transform prose into poetry in prose. Like this: “People hide their truest nature. I understood that; I even applauded it. What sort of world would it be if people bled all over the sidewalks, if they wept under trees, smacked whomever they despised, kissed strangers, revealed themselves?” ― Alice Hoffman, The Ice Queen

*** Are you rationalizing sentences that don’t quite sound right? Are you aware that either craft or psychological obstacles often originate such sentences?

Tip: Savor beautiful writing. Collect it. Isn’t that the start to your own beautiful writing?

The Test of Time

A recent performance of Romeo and Juliet at American Players Theater in Spring Green, Wisconsin, confirms that Shakespeare remains as alive and well-loved as ever. Even the famous balcony scene, which could well feel like the most painful of clichés, still captures how the world feels when you’re first in love, with the moon too inconstant for a vow, and goodnight evoking a taste of death. All that stands the test of time.

This early play (1595—a decade before King Lear) blends romance, slapstick, violence, and wit. Each lover undergoes a developmental arc during the brief span between love at first sight and untimely death. Their tragedy affects not only friends and family, but all Verona—and everyone who’s encountered not only the play’s beauty, but its meaning.

Romeo and Juliet accomplishes this not just by lacing tragedy with comedy. Or with quicksilver action proving that major events—pressure points—change people so there’s no turning back. The play’s great strength is its capacity to reveal real people with real emotions, who remain utterly relevant even though we no longer brandish swords and have cellphones to get messages safely through. The play’s great strength is its continuing relevance.

In Good Prose, Pulitzer-Prize winner Tracy Kidder observes that “Revelation, someone’s learning something, is what transforms event into story. Without revelation, a story of high excitement leaves us asking, ‘Is that all?’”

No work can stand the test of time if readers wonder whether “That’s all.” Nor is this a genre issue. Jane Austen’s Pride and Prejudice is an early romance, Mary Shelley’s Frankenstein is science fiction, and Mark Twain’s The Mysterious Stranger is magical realism.

What makes a work stand the test of time? How can your novel have a shot at achieving that?

~ Landscape.

A novel needs characters that inhabit a very particular environment. Readers must be able to enter it, too, and this world must control what characters dream and whether those dreams can come true.

~ Innovation.

Does the novel offer a spin, idea, location, or dilemma distinct from everyone else’s?         Does it possess something only you can offer?

~ Impassioned emotion.

Do the characters evoke at least as much compassion, irritation, or delight as real people? Do readers experience strong feeling about the characters?

~ Texture.

Does the novel have sufficient substance that one could reread it and reach different insights? Will no two readers interpret it identically?

Tip: It’s not a matter of what you write about, but how you write it.

The Emotional Wisdom of the Novel

The best ones have it. Consider the psychology of Melville’s Captain Ahab or the well-motivated sadism of Hawthorne’s Chillingworth. Generally, novels dispense insight because their authors have it—along with the ability to “show” rather than “tell” what they grasp.

Since the novel’s inception, people have sought moral truths from fiction. As Jonathan Gottschall asks in The Storytelling Animal: How Stories Make Us Human, “Why are humans addicted to Neverland? How did we become the storytelling animal?”

To a novelist, “how” matters less than the conviction that after the characters disappear, readers know something about emotional wisdom that they didn’t before.

What does emotional wisdom look like? Here’s Richard Russo from Empire Falls:

“What he discovered was that violating his own best nature wasn’t nearly as unpleasant or difficult as he’d imagined. In fact, looking around Empire Falls, he got the distinct impression that people did it every day. And if you had to violate your destiny, doing so as a Whiting male wasn’t so bad. To his surprise he also discovered that it was possible to be good at what you had little interest in, just as it had been possible to be bad at something, whether painting or poetry, that you cared about a great deal.”

Who knew? Or that:

“Science doesn't tell us what we should do. It only tells us what is.” ― Barbara Kingsolver, Flight Behavior

Or Jane Austen? Pride and Prejudice is among the wisest portrayals of who we are:

“Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves; vanity, to what we would have others think of us.”

How can you convey emotional wisdom?

~ Start with the plot. The inciting incident, climax, and resolution are the source of whatever you’d like readers to understand.

~ Resist the temptation to comment. For one thing, comments tend to oversimplify. For another? Stuffing the theme into a character’s mouth is still commenting.

~ Probe human nature. You can’t offer insights you don’t have. Why do people really do whatever they’re doing? It’s rarely obvious. Put some thought into it.

~ Surprise us. Every time you hit readers with something that never previously recognized, you hint at how wise you are—and how wise they are to be reading you.

Tip: We think of emotion and wisdom as antithetical. The more your novel implodes that, then the happier (and wiser?) your readers will be.

Who’s Got the Plot?

Writers often ask what makes a novel “literary.” Emphasis on character? On voice? On improbability of making a sale? Jay Parini called the literary novel one that teaches you how to read it as you go.  Mark Twain hadn’t heard of the literary novel, but he did call a classic “something everybody wants to have read, but no one wants to read.” That’s about plot, or lack thereof.

Nathan Bransford’s blog on “What Makes Literary Fiction Literary?” observes that “Good literary fiction has a plot.” In fact, if you want people to buy your literary fiction, a plot is just the ticket.

For example, Ian McEwan’s Solar traces the dangerous consequences of the rivalry/incompetence intersection in academia. The Lowland (Jhumpa Lahiri) illustrates the life-changing consequences of every seemingly trivial decision about love or politics.  Sara Gruen’s Ape House reveals who gets loved or rescued, while Janet Burroway’s Bridge of Sand follows who gets to survive the rotten hands that fate often deals.

Bransford’s blog offers this insightful distinction: “genre novels are really about how a character interacts with the outer world.” In contrast, “literary fiction… requires the reader to infer a great deal of the plot…and thus the climax might be something as small as a decision or a new conviction.”

Let’s unpack that by differentiating not only the subtlety of the plot, but the distinction between plot and tension. In Jane Austen’s Pride and Prejudice, the plot consists of who gets married. The first romance novel! That observation probably outrages some and thrills others. But what differentiates Austen’s romance from others? It’s the source of tension, which comes less from the events that befall characters than the way characters learn and mature because of those events. The theme that “pride” or “prejudice” impede happiness matters at least as much those wedding bells.

What has this to do with your novel, literary or not?

• Every novel needs a plot, preferably one where each event causes the next.
• Every novel needs character decisions that produce clear consequences.
• Every novel needs tension—on every single page.
• Every novel needs characters forced to choose between unacceptable outcomes.
• Every novel needs tension from both what characters do and what they think.
• Every novel needs subplots interwoven with the central plot.
• Every novel needs a plot climaxing in a revelation about human nature.

Tip: The best novels integrate the best attributes of both genre and literary fiction.

Commemorating Novelists

Memorial Day is a three-day weekend, a celebration of summer, and a much-deserved respite. But it’s important to remember to remember—commemorating and expressing gratitude. For writers, a nice way to reflect is T.S. Eliot’s quote about our literary ancestors:  “The dead writers are remote from us because we know so much more than they did.’ Precisely, and they are that which we know.”

We know them. They influence us, whether we acknowledge it or not, so we probably ought to. Every story is different, of course: Your own voice, scenario, nuance on classic character roles. But where would your characters be without Mark Twain’s Jim? Where would your scenario be without Hawthorne’s cruel and gorgeous scarlet letter? Novelists have always reflected and changed their world—and all of them helped create yours.

To acknowledge just a few giants, start with Virginia Woolf in To the Lighthouse, on the universality of human emotion:

“It was love, she thought, love that never clutched its object; but, like the love which mathematicians bear their symbols, or poets their phrases, was meant to be spread over the world and become part of human gain. The world by all means should have shared it, could Mr. Bankes have said why that woman pleased him so; why the sight of her reading a fairy tale to her boy had upon him precisely the same effect as the solution of a scientific problem.”

 Joseph Conrad's Heart of Darkness lets us glimpse the dark places of the world—and inside our selves:

“Going up that river was like travelling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable forest. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine. The long stretches of the waterway ran on, deserted, into the gloom of overshadowed distances. On silvery sandbanks hippos and alligators sunned themselves side by side. The broadening waters flowed through a mob of wooded islands; you lost your way on that river as you would in a desert, and butted all day long against shoals, trying to find the channel, till you thought yourself bewitched and cut off forever from everything you had known once—somewhere—far away in another existence perhaps. There were moments when one’s past came back to one, as it will sometimes when you have not a moment to spare to yourself; but it came in the shape of an unrestful and noisy dream, remembered with wonder amongst the overwhelming realities of this strange world of plants, and water, and silence. And this stillness of life did not in the least resemble a peace. It was the stillness of an implacable force brooding over an inscrutable intention. It looked at you with a vengeful aspect.”

Or Jane Austen, from Persuasion, on our man’s world:

“’I do not think I ever opened a book in my life which had not something to say upon woman’s inconstancy. Songs and proverbs, all talk of woman’s fickleness. But perhaps you will say, these were all written by men.’

‘Perhaps I shall. Yes, yes, if you please, no reference to examples in books. Men have had every advantage of us in telling their own story. Education has been theirs in so much higher a degree; the pen has been in their hands. I will not allow books to prove anything.’” 

In The Heart of the Matter, Graham Greene reflects on the human capacity to give and love—and what that costs: “If one knew, [Scobie] wondered, the facts, would one have to pity even the planets? If one reached what they called the heart of the matter?” 


Herman Melville’s ending to Moby Dick evokes the loneliness of the long-distance everyone: “On the second day, a sail drew near, nearer, and picked me up at last. It was the devious-cruising Rachel, that in her retracing search after her missing children, only found another orphan.”

Maybe your memory of Ishmael isn’t that we’re all lost at sea but that someone made you read the thing. Maybe you’d rather have skipped it. Doesn’t matter. These aren’t just books we’ve read (or pretended to). These stories shape what we are—and therefore what we write, or aspire to. What novelist could hope for a better memorial?

Tip: Read widely in contemporary fiction—in your own genre. But never forget those who made your genre what it is.

Science fiction started with Mary Shelley’s Frankenstein, and the mystery story with Edgar Allen Poe’s “The Murders in the Rue Morgue.” Pay attention to what brought you to your own story. Who knows what you might start?