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Using Your Anecdotes as Starter Dough

anecdotes

Using Your Anecdotes as Starter Dough

We all have anecdotes. Memorable moments, good and bad, which swirl around in memory. Carol Shields suggests that, like Alice Munro, you use your experience as starter dough[1]. For the non-bakers among you, starter dough is a piece of dough kept from a previous batch which is used as leavening for new bread. By careful tending, starter dough can last for years or decades and continue to provide the umph for bread. Great analogy, no? Remembrances from your life can be the starter dough to create the new bread of a story. It is a jumping off point to add the ingredients you want.

Norman Mailer, author of both fiction and nonfiction, had a similar although somewhat different take. He came to the world’s attention with The Naked and The Dead, a novel set in World War II. I saw an interview with him, discussing its writing. I paraphrase, but he said that he had never been in a war but he knew what it was to fear for his life. He used that life understanding to inform the writing of the novel.

So great writers have used their lives to infuse their writing with reality.

Starter dough anecdotes—an example

Although this seems like good advice, I realize that it may be a bit difficult to imagine how that might happen. So, an example might be helpful.

My novel, Kimono Spring, is a semi (emphasis on semi)-autobiographical novel. In it, the seven year old protagonist, Julie, is picked to play a child in an amateur Japanese theater production where her father is the lead. Julie only has two lines but her father won’t translate their meaning. The reader figures out that Julie is playing an illegitimate daughter and her father is loath to tell her that. But because she doesn’t know what she’s saying, she confuses them during the performance and forces the other actors to improvise around her blunders.

As anecdotes go,  it’s all right, no? I used my memory of the event and embroidered it. I mentioned it to my sister who was three years older than me. She instantly took exception and said it was her not me who had been in the play. Well, honestly it did make more sense that they would use a ten year old rather than a seven year old. I guess I was so jealous of my sister getting the role that I implanted in my memory that I had been the star. Even to the point of remembering mixing up the lines.

So, in this case, it turned out to be borrowed starter dough. But it allowed me to take off into a whole sub-plot of the novel.

How do I do this in my writing?

In the example above, because I ‘remembered’ confusing the lines, I had to come up with a reason why she fluffed them. To add to the mix, I showed a seven year old preening in her role while the reader realizes that the father is slowly falling in love with a woman from Japan also in the play. This ‘memory’ allowed me to expand into story.

You can do the same with your recollections. Although I’d suggest using your own starter dough. Next post: Where starter dough and truth collide.

[1] Shields, Carol, Startle and Illuminate: Carol Shields on Writing Random House, Canada, 2006, p.17

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Tone—What Attitude Looks Like in Writing

attitude

Tone—What Attitude Looks Like in Writing

Last post, we talked about how the attitude or tone of your writing can enhance or detract from the pleasure readers take in your work. This can be difficult to pick up so I want to work through some examples.

Some examples of different attitudes

Remember, the tone or attitude of your piece is usually carried by the narrator. This can be the main character telling the story from her point of view, or it can be how the setting,  actions, and speech, etc., are depicted.

So, let’s use the same setting—a children’s outing on a beach—and show how different tones affect the feel of the writing. As mentioned before, the attitude you think a piece takes  is often subjective, so you may not agree with my label for all of the following snippets. But focus on how different words and the choice of diverse elements of the scene can affect the tone.

Happy The sun sparkled on the water. And bounced off the metal grill of Dad’s car. It was hot. Really hot. Just perfect. We ran down into the water, yelling and screaming, and flopped ourselves down onto the sandy bottom.

Sad The children ran down to the beach. I sat up. Was that Danny? The sun was in my eyes. I squinted but couldn’t see. Then I sat back and shook my head. Of course it can’t be.

Angry I swotted the flies away from my drink. Damn sand always brought them out. And what the hell were those children screaming about in the water? Making an unholy cacophony. Parents these days don’t have any control.

Nostalgic It must have been a day just like this. Warm, almost hot, sun. And there must have been children much like these gambolling now on the beach. Older perhaps, but just as lively. And as carefree.

Sarcastic/Mocking A summer idyll. I don’t think so. I bet those parents think they’re making life-long memories for their kids. And feel a glow because of it. When all the kids will remember is how their parents done them wrong.

You see how focusing on different elements of the same scene can alter the tone of the piece. A happy piece doesn’t necessarily fix on the flies; a nostalgic one may use the present scene as a springboard into the past.

Whether or not your whole novel or memoir has a particular tone depends of course on whether it is sustained by its continued use.

What attitude do you want to convey?

Depends on your writing style and your intent for the piece.  But generally, I would advise against an a priori decision. Just write a good story. Tone, if there needs to be one, will probably emerge.

In fact, it is more likely that you’ll inadvertently transmit a tone which doesn’t fit or impedes the enjoyment of the story itself. So, unless you purposefully want to communicate a particular attitude and are clear why you want to do it, I think generally you’d be wiser to let the story engage the reader rather than overlay a tone.

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Tone

tone

Tone

The tone of a novel can be a tricky one for both readers and writers to pick up. This post will discuss what it is and how to identify it in your writing.

What is tone?

Tone is usually carried by the narrator of the story. The narrator, even if not named, tells you about setting, describes the characters, lets you know how things are rolling out, etc. Sometimes, the narrator’s tenor can be fairly neutral and therefore in the background. But it can also be witty, sarcastic, sentimental, mocking, etc.

I want to make the distinction between a mocking tone and a mocking character.

Character: “You think you’ll get away with that, you cretin?” Ada flipped her hair.

Tone: “I’m very empathetic,” Ada said, running her artificially nurtured nails through the assisted gold of her hair.

Tone comes, not from what the characters do or say, but how the narrator describes what they do or say.

Why does it matter?

If a particular attitude can be carried off in a novel, it can be very entertaining. A wise-ass narrator who has opinions on his characters can work.

It is, however, very hard to sustain a particular manner throughout a long piece like a novel. For one thing, your story may call for some serious or even tragic events. If you’ve established the tone as sarcastic, the best you can do is treat these scenes comically.

A strong tone can also distract from your story. It can look as if you’re saying to your readers: Hey, look at how clever I am, how amusingly I’m telling you this. It can be irritating and get in the way.

Finally, a particular tone is sometimes camouflage. You want to write about the tortured relationship with your mother, but you do it in a flippant, even amusing manner. If you didn’t experience the events as amusing, then you’re not being emotionally honest with yourself or with your readers. And they’ll pick it up, even as they’re laughing.

So you may have created a compelling story with vivid characters and fascinating plot twists, but a tone that is off-putting will make the reader lose interest. It is a way of breaking the continuous dream you’re trying to craft. And being readers, it’s not their job to identify where you went wrong. It’s yours.

How can I tell how my writing is tending?

First off, and annoyingly, tone is usually subjective, just like comedy. I think the tone is hilarious; you think it’s contemptuous. Even so, you still want to most of your readers to ‘hear’ your story the way you intended it. This is where writing groups and ideal readers come in. Ask them to read for tone (you might have to explain what that is). And like all feedback, listen well and then decide yourself whether it applies. After all, it’s your writing.

However, I know that this is a tough area so the next post will go into more detail on your writing’s attitude.

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I Have a Bunch of Scenes. Now What?

I

scenes

 Have a Bunch of Scenes. Now What?

The last post dealt with creating a novel through writing manageable chunks.  I’m not advocating actually writing in such a mechanical way as I prefer a more haphazard, and freer, method. But whichever approach you use, you’ll eventually end up with a bunch of scenes, all of which may tend in the right direction but don’t necessarily read like a fully-realized novel. Which is probably true.

Sub-plots and other useful bits

The main plot is of course important to a novel whether it’s the growth/decline of the protagonist, the resolution of a mystery, or a couple finally getting together. However, it has other components which are equally important. They have to do with creating a fully realized world into which your reader can happily immerse herself.

The setting

In some novels, say ones in the Arctic, the locale itself can almost be a character. It’s not necessary to go that far, but your characters and their actions need to appear in a context. While writing all the little scenes, you have undoubtedly included some background setting. Now, you should review them to see whether you need to amplify or otherwise enhance the setting to create a fully realized world.

This doesn’t mean simply more description although that might be a component. Ask yourself whether the setting itself can and should prompt your characters’ actions. A storm in a forest might clarify or emphasize your heroine’s bravery or timidity. Work lay-offs could reveal how your protagonist reacts to crisis.

Sub-plots

Another way to create a fictional world is to trace what happens to other characters in the story. If we return to the Martha story from the last post, does she have a sister, Tanya, who finally rebels against the shoddy treatment Martha dishes out? Rather than just write that one scene to illustrate Martha’s ruthlessness at home, you can create a whole story for Tanya. What was it like growing up with Martha? How has it shaped Tanya’s life? How did she get to the breaking point? Why now and not earlier or later in her life?

There you are—a sub-plot.

Scenes sewn together

A variety of sub-plots makes the reading more interesting and your fictional world deeper and more complex. But it isn’t going to work as a novel if all you have are a bunch of linear sub-plots. Clearly, they need to be woven together.

Actually, during the writing itself, these links and crossovers may have already occurred to you. Hey, Martha could need Tanya to do something for her and Tanya ‘forgets.’ Go with them, by all means.

But in the editing phase, look to where you might be able to kill one or more birds with one stone. For example, say you’ve decided that Tanya is as selfish as Martha. Rather than a scene where Tanya is being selfish and another with Martha demonstrating the same quality, why not show them fighting, both trying to get their way? If you add some setting, you have the beginnings of a fully and more integrated novel.

I have to say, the whole time I’m writing this I have an uncomfortable feeling in the pit of my stomach. Breaking down a novel into parts is simply a way to show that it can be constructed from little scenes. PLEASE don’t write your novel that way. Let the imagination flow and creativity reign. It is only in the editing that you can and should be more analytic.