The Writing Paradigm

Ponderous title, no?

The paradigm of writing has been one of my discoveries, the kind that slaps you upside the head and then laughs at you when you look back over your benighted stumble toward understanding and realize that it was always there, obvious. You were just too dense to see it.

ParadigmWebster’s defines paradigm as “a framework containing the basic assumptions, ways of thinking, and methodology that are commonly accepted by members of a scientific community.” The OED weighs in less ponderously than one might have expected, “A worldview underlying the theories and methodology of a particular scientific subject.”

I should have reflected on the definition. Strike the ‘scientific’ and you realize that paradigms are ubiquitous: everything from religion to sandwich-making at Subway has its paradigm. And, as I realized over time, I was light on the ‘methodology’ part of the writing paradigm.

When I began, I thought writing was made up of story-telling and mechanics. I quickly learned (i.e., was corrected) that what I called story-telling is Voice, a somewhat mystical characteristic. Part in-born talent, part life experience, the experts intoned. Not something one can learn by rote. Asked for more specifics, the experts universally mumble something about it having to do with the wealth on one’s life experience and … read a lot. I kind of get it.

I had a rock-solid control of grammar and vocabulary (or so I thought). English major, you know. I had read a lot. Couldn’t do much to influence that ineffable quality called Voice. So what more did I need?

Well, a lot. I’ll call it Technique, the methodology of writing. It is the part I’m learning from other writers. It’s the not-so-obvious superstructure of the story that allows the reader to follow comfortably, the choice of point of view and tense, the way characters and time sequences are introduced. Thankfully, this is stuff one can learn.

It does make it hard, though, to do a rewrite on one’s magnum opus and realize just how much one has to learn. Always the optimist, I look forward to the next epiphany.

Art, Wisdom, and the Comics

Sally ForthI must admit that I glance at the front page of the paper, scan the news of the day and go to the comics page for wisdom.

So, here you have it.  We writers often miss this truth, vainly trying to lock the reader into our own special vision.

(from http://www.sallyforth.com)

Overhead

Overhead:  That concept they lay on you at the auto dealership when you wonder why it costs $70 per hour to fix your car.

Overhead:  A life concept I too often ignore.

mechanic bill

I digress today from writing about writing per se to talk about the real-world business of writing. Specifically, is this new age better? Or just different?

Surely, we have resources we never had before. Google maps, Wikipedia, thousands … nay millions … of specialized websites. I said in the last post that I was able to scope out and define a little town in Austria right from my comfortable chair in Minnesota.

Wonderful, but …

  • Arriving home from a trip abroad, my good old HP printer doesn’t print. Turns out Apple’s latest update of its OS is probably the problem. That cost three hours and led to a new printer.
  • WordPress.com explains that my podcast hasn’t passed through to iTunes, depriving it of 80% of its listeners. Nobody knows quite why. I’m looking into a separate website. Several hours squandered there.
  • Audible/ACX, the Amazon audiobook service, hasn’t responded after having told me there’s “electrical noise” in my audition file. Serializing the first novel as a podcast is on hold.

Overhead!

I don’t know about you, but I realize I should allow for all this overhead when I set my expectations about what this wonderful world of technology promises.

Fiction and reality

I have just returned from a trip to reality.

In my second novel, a main character is drugged and pushed off a Danube river boat. She ends up in a little town at the eastern edge of Austria called Hainburg an der Donau.

With my Internet resources, I was able to see a Google World view of the town, locate the hospital in it, observe the uniform of Austrian policemen, calculate the actual speed of the boat after it left Vienna for a trip to Budapest, view a plan of a boat similar to my fictional one. I knew the depth and temperature of water in late June, and I knew that a single screw (propeller) would most likely not drag an unconscious person through its blades. More than enough information to write a credible story, right?

A little over a week ago, my wife and I had dinner in VGruner Veltlinerienna with several friends from my former business life. Over a very nice glass Grüner Veitliner, I allowed as how I planned to ride the train to Hainburg the next day. Chuckles. Well, I said, part of my novel takes place … Outright laughter. “In Hainburg?” they asked, with the same inflection a Manhattanite would use to describe central North Dakota.

I mentioned that I had written ahead to the Tourist Bureau there (not-so-stifled laughter) and received a long German reply to my request to visit the police station. The Tourist Bureau had summed it up in four English words: “It is not possible.”

My friends Werner and Tina took pity on us and drove us to Hainburg the next day.

Hainburg panorama

Hainburg panorama

Hainburg hospital

Hainburg hospital

The town was substantial, but definitely in the sticks, at least to my sophisticated city-dwelling friends. The hospital was far more substantial than I expected, and its design would not have allowed the story line as I had written it. The police department, the one which was “not possible” to see, produced a constable very like my fictional one and an interior design that made what I had written plausible.

I will make some revisions, but fiction is fiction. The lovely little town Hainburg an Der Donau with be portrayed, umm, a little inaccurately.

New Orleans Purgatorio: A Short Story Podcast

Here’s a Podcast of my short story, New Orleans Purgatorio,   which was shortlisted for the 2015 William Faulkner-William Wisdom short story prize.

New Orleans Eveningpodcast copy222

Why a podcast?  Well, my writer friends know that the market for fiction is changing faster than a 2016 politician’s promise (sorry!).  This is, frankly, an experiment in advance of a larger commitment to produce my first novel in audio form.

Hope you enjoy!

Stop Saying “I Feel Like”

One of the many challenges I face as a beginning writer (I can still claim novice status, particularly when making novice mistakes) is the issue of how temporal to be. “Temporal” often means “temporary.” Who knows how long LOL or awesome will last? And, do you really want to date your writing? Then there’s the more complex issue … vocabulary and usage reflect a character’s expressed personality, which is a function of the time and place. “Cool, daddy-o” doesn’t work in a piece set in the 1890’s. Certainly, leave out y’know, like and other limping conjunctions and fillers that are common in conversation … except maybe occasionally, as linguistic spice.  That part I got.

Less obvious is the subtle change discussed in a New York Times opinion piece,“Stop Saying ‘I Feel Like’ ” by Molly Worthen. She notes, “imperfect data that linguists have collected indicates (sic) that ‘I feel like’ became more common toward the end of the last century. In North American English, it seems to have become a synonym for ‘I think’ or ‘I believe’ only in the last decade or so. Languages constantly evolve … But make no mistake: ‘I feel like’ is not a harmless tic. George Orwell put the point simply: ‘If thought corrupts language, language can also corrupt thought.’ The phrase says a great deal about our muddled ideas about reason, emotion and argument.”

So, possibly irritating phrases (such as) “I feel like” don’t get expunged because the help define the characters inner self?  The next big question:  “I feel like” is like fingernails on a blackboard to me, but does it describe a character’s state of mind to my reader?  Am I justifying not including it because I am, after all, an English major living on a higher plane of language?  Is that higher plane really an affectation?

No more questions.  Start, like, writing!

 

 

Creativity and the art of zoning out

There are many prescriptions for creativity. Enough that it’s clear that nobody has come up with a formula that works for everyone. Meditating hasn’t worked for me, because I need my mind to be active. On the other hand, it’s hard not to be distracted by the flow of information and irritation that is everyday life.

For me, the solution is race walking. Yup, that hip-wiggling form of locomotion that looksRace walk great on a young woman and somewhere between odd and hysterically funny when an older, overweight guy does it. (This I know from experience.) The important part for me is that the magic of repetitive movement quiets my mind but allows the cognitive flywheel to spin uninterrupted.

I discovered this when I had my knee scoped a couple of years ago. No race walking for several months. My second novel, which I was rewriting at the time, became mired in bad writing and incomprehensible plot twists. I exercised on the elliptical machine, to be sure; but the gym’s constant noise and intrusive TV monitors blunted my thought process. When I got to the point that race walking was okay again, the novel started sorting itself out.

For me, good writing requires mental solitude, and exercise provides that freedom.

Writing and sculpture

Wood sculptor

Roughing out

My father was a sculptor in wood.  I remember him saying, “The wood has a story.  It’s my job to let it out.”  I was six or seven, but those words have stuck with me.

I have been working with a fine editor (see Kopp Editing Services) on the first part of my second novel.  As I was hacking away at the prose, chopping a sentence here, a participle there, I saw my father working.  His chisel was at first roughing out the block, revealing the grain and density, finding the story.  Maybe because all writers are suckers for metaphor, I realized as I read through the margin notes and suggestions, the first draft is that roughing out.  Rewrite teases out the shape, and editing provides the fine adjustments my father made to his sculpture with the gouges, skews and v-groove chisels that gave the the piece character.

There is something to be said for that metaphor.  When I began my first novel, I thought I would write a draft, then line edit.  (After all, I’m a good writer, I thought.  Got B’s in college from the writing teacher who was reputed to believe, “A is for God, B is for me, and C+ is for the best of the rest of you.”)

Pelican Sculpture

My father saw a pelican in this piece of wood

That first time, I got the same result a woodworker would have gotten by jumping to fine detail before the roughing out was finished.  Now, on the second novel, after more experience and the help of three critique groups, I believe it’s time to take out the gouges and skews.  So I sent the third pass off to my editor.

Arrrrgh! Bring-Take

No, I’m not channeling my inner pirate.  And, right off, I admit to being a closet snooty person about grammar.  However, I do understand that language is ever changing, mapping our ways and means of communication.  So, unlike political candidates these days, I’m a proud centrist with respect to grammar (and in politics, too, but I promised myself not to hyperventilate on my blog).

So, as we now say, it’s all good, right?

But.but.but good writers keep on telling me to strip nonessential words.  Make every word punch above its weight, right?  Which means meaning is important, right?  In particular, a writer needs to paint a picture of action so the reader can follow the story, right?

So here we are back at good old bring/take.

Bring-take

Here is an ad from Writer’s Digest.  The folks that advertise themselves up as the most complete writer’s resource.  The closet snooty person says, “bring things here and take things there.”  If you’re going from here to some other place, it’s take, even if one is speaking of electronic files.

So, the new quandary for the snooty grammarian is a variation of that old tree-falling-in-the-forest question:  If everyone uses bring for all movement from place to place, does the writer simply acquiesce on the grounds that his more precise use of bring-take will be lost on modern ears?

Or maybe the writer quits grousing and writes better.