Orchestrating Tension Writing Workshop at OCWW

Please join me at Off Campus Writers’ Workshop on April 7, 2016, from 9:30 a.m. to noon, for my workshop on the art of Orchestrating Tension.

Tension may well be the storyteller’s deepest magic. Tension is the secret to both your hook and your hold: the pulse that keeps readers turning the page. Tension can range from subtle and psychological to big and action-based – the stuff of profound literary work or gripping genre fiction or wonderfully addictive stories for kids. Once established, tension reverberates under the surface, akin to a movie score. You can build it up or quiet it down, blending different kinds of tension like music. As author, you’re both the composer and the conductor. This workshop will cover the various sources of tension in fiction and ways to exploit and combine them.

The workshop will take place at the Winnetka Community House, 620 Lincoln, in Winnetka, north of Chicago. Members: $10; nonmembers: $15. All are welcome. Members of OCWW may submit manuscripts in advance for critique by sending them by email to OCWW VP Fred Fitzsimmons at fredfitz@gmail.com no later than Monday, April 4, 2016. Critique fees are $15 up to 15 pages and $25 up to 25 pages. Manuscripts must follow the guidelines posted on OCWW’s website.

I hope to see you there!



Tech Tips for Writers

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My computer started to show its age recently, stiffening up like Tin Man in the rain. I enjoy writing longhand – pen on paper has its own special feel for writers – but I soon realized that I missed more than the quickness of keyboarding.

I’ve come to depend on how technology brings the world to my desk.

1. World building

The concept of world building is most often associated with science fiction/fantasy and historical fiction, but all novels benefit from a strong sense of place. Visiting the locations in which we set our scenes helps us discover the details that make them distinctive. An in-person visit is ideal, but not always practical. Two shortcuts that I find especially useful are exploring “Street View” with the yellow Pegman on Google Maps and searching under “Images” on Google.

If you’re not acquainted with Pegman, he’s in the lower right corner of the Google Maps screen. Just drag and drop him to the spot you want to see. You can use the arrows on the side to rotate your view and arrows on the image itself to move forward, sometimes even inside. For my recent novel, I needed to find an isolated location in Idaho. After a couple of hours with Pegman, I came up with my setting and language: “An open sky and railway tracks, a Phillips 66 gas station, a string of power lines, some low concrete buildings, scrubby trees in the distance, a horizon so flat you could see nothing for miles. Desolate, like something in an old Hitchcock movie. A trap that didn’t need walls.” None of that came to me until I saw that place on the screen.

A search under “Images” unlocks a gold mine of photos from all over the planet. I wanted to see how Munich looked at night for a short story: no problem. I found hundreds of photos with just a few clicks. An exclusive nightclub in Chicago? I couldn’t have gotten past the bouncer in person, but countless partiers had helpfully uploaded their selfies with plenty of background content. The images on Street View are static, but the photos here can show a whole range of situations (different times of day, number of people, and so forth).

2. Capturing character

Years ago, a writing teacher advised me to keep a collection of faces from magazines for character studies and story prompts. I soon discovered that magazines take far too narrow a view of who merits a  photo. Smart phones can help us collect faces from life. As long as you’re simply using them to inform your writing, and not for publication or commercial purposes, you’re allowed to take pictures of strangers in public. I’d advise discretion, but smart phones are good for that: you don’t stand out like someone with a 35 mm camera and telephoto lens.

In addition, you can use the video feature on your smart phone to catch conversations in public, such as on a bus where people might reasonably expect to be overheard. Transcribing how people actually speak to one another can help writers get a better feel for dialogue. Of course, in the end, you’ll want to use your own words. We’re talking about ways to inspire and grow your writing, not replace it.

Searching under “Images” can also help with finding characters and describing facial expressions. Not sure what happens to a woman’s face when she’s bored? Search “bored woman” under “Images” and you’ll see. You’ll still need to come up with original words to describe it, but at least you’ll have a concrete place to start.

3. Researching on the fly

All of us rely on our computers and smart phones for research these days. When was the last time you tackled the card catalogue at the library to read up on a topic for your book? Jonathan Franzen is known for working away from his computer, but many writers intersperse writing with quick searches, on everything from what is really meant by a panic attack to the right synonym for an overused word. My advice here is to open up a new window for research. Don’t be tempted by having tabs open to email or social media on the same screen. At the end of each session, you can save your research tabs as a group, by right-clicking one of the tabs and scrolling down to “Bookmark all tabs.” I’d also suggest turning off the push notifications for your email and other apps, so they don’t distract you. The trick, as always, is how to take advantage of technology without letting it undermine you.

Which brings me to a final caution: sometimes we all need to put convenience aside and unplug. To experience places in person, study faces with our own eyes, listen hard with nothing but our ears. How these things make us feel can be lost if we limit ourselves to a digital version of life. Technology may be able to bring the world to us, but we count on perceptive writers to step into the world.



Voice is a Verb

Three riddles, all with the same answer: When we talk about inborn talent in writing, what do we mean more often than anything else? What attribute is most likely to make a novel leap off the page? What do many people write entire novels without understanding, despite its centrality and importance to modern fiction? Voice. Hard to teach and even harder to learn, except for those writers for whom it seems as natural as breathing.

Voice is often defined in terms of attitude, especially in first person, but it’s more than that. Voice gives us our lens, our scope, our storytelling rhythms, our sensibilities, our figurative language, and our potential for insight. Each new voice opens up fresh territory to us and confines us at the same time. Mark Haddon does a brilliant job of rendering the narrative voice of an autistic boy in The Curious Incident of the Dog in the Night-time, but it has none of the edgy self-reflection which Joseph Heller brings to Holden Caulfield in Catcher in the Rye. How could it? When a writer finds a voice, she or he also finds a particular take on this world – a unique way of experiencing and processing life. In first person, the writer essentially inhabits the main character, akin to playing a part.

The ownership of voice is more complex in third person. At one end of the continuum are novels in which the narrator is clearly distinguishable from the characters and makes comments, such as in Jane Eyre by Charlotte Bronte or, more recently, White Teeth by Zadie Smith. At the other end are novels in which the third-person narration seems to be at one with the words, thoughts, and attitudes of the main character. The technique of free indirect style may be used to achieve a certain elasticity, at times moving closer to the main character and then farther away. This allows the writer to open up dramatic irony, as in Olive Kitteridge by Elizabeth Strout, when Olive stands next to Jack Kennison as he lies in bed, both of them widowed, aging, and alone (pg 269):

“God, I’m scared,” he said, quietly.

She almost said, “Oh, stop. I hate scared people.” She would have said that to Henry, to just about anyone. Maybe because she hated the scared part of herself – this was just a fleeting thought; there was a contest within her, revulsion and tentative desire.

These insights somehow belong both to Olive, the character, and to the barely visible narrator. It’s as if the writer has stepped into the character and written from that inside place, but at the same time retained a kind of privileged discernment. Still, the dominant personality of the voice remains the character’s own. This type of voice may also progress through a series of characters in turn, colored differently for each one, as is the case in Strout’s book. In Let the Great World Spin by Colum McCann, the voice shifts in every section, sometimes in first person, sometimes in third, each time taking on a markedly different set of attitudes and manner of speaking, in a tour de force on the power of voice.

I say elsewhere in these pages that fiction is the art of human empathy. Voice is that empathy given flesh. When we refer to “finding” a voice, we’re talking about the work of sympathetic imagination. Voice isn’t simply a noun, a thing, a conclusion; it’s also a verb, an action, a state of becoming. To voice is to express, to make known, to reveal. Voice is the ultimate show rather than tell: the distillation of our main characters’ personalities and histories into the very way in which we tell their stories.