When to Break Literary Law

In the last post, I featured another author, Muriel Spark, whose novel The Prime of Miss Jean Brodie thumbed its nose at literary law. Having already discussed why to be wary of Breaking the rules, I now want to discuss when you might want to.

Unfortunately, I fear this post is going to be pretty wishy-washy. I can’t tell you with certainty when to take the plunge or what form it should take. I may not even be able to give you examples from other writers. Because this is an idiosyncratic and personal phenomenon.

But I am pretty sure of (maybe) that sitting down, thinking, Right, I’m writing an iconoclastic novel, doesn’t work. The result is likely to be forced and false

Breaking literary conventions

I think the time to break literary laws is when the fracturing is required because of the needs of the story or because it is the nature of your voice as a writer.

You may get to the point that following the normal story arc just doesn’t suit or support where you want to take the novel. You might want to interject fantasy elements in an otherwise reality based tale, the significance of which will only become evident at the end. You might have drawn a protagonist who is so out of touch with who he is that the most effective way to show it is to omit any kind of inner life. These might be times when you dump conventions and go with what best serves the story.

I also accept that some writers can best express who they are, i.e. their voice, through elliptical, non-linear, and even chaotic novels where the joy comes from going along for the ride and not from following a strict story line. So ignoring rules may be what is needed to truly capture your spirit on the page.

So, if either of these (and probably others I haven’t thought of) fit you, then by all means, give it a go.

Some caveats

There are, however, some issues which might arise from these approaches which are worth paying attention to.

As I have discussed before, in order to feel true and realistic to your audience, writers must know that the readers’ expectations from fiction which are largely unconscious but which you ignore at your peril.

You might decide that your ending should be vague and even confusing in order to fit with the rest of the novel. However, since readers by and large expect some kind of resolution, you may confuse and even anger them. While you might be going for the latter, do you really want to confuse them?

I’m not saying don’t do it but I think you need to be cognizant of the possible outcome. Because not only are you violating their normal expectations, you are asking them to conform to your new rules, however unspoken. Even if that rule is that there are no rules.

July 10, 2020July 5, 2020

The Prime of Miss Jean Brodie

One of the only silver linings in this historic period of social distancing is the chance to reread favorite old books. In my case, it is the novel The Prime of Miss Jean Brodie by Muriel Spark. The book rather than the 1969 movie of the same name (although I liked it, too) is what I want to discuss.

Edinburgh of the 1930s is the setting for the novel. Miss Brodie is a teacher in a private girls’ school and her charge is the twelve-year-old class. She ignores the curriculum to introduce ‘her girls’ to her highly romanticized view of the world with its decided fascist leanings. The girls adore her and follow her teachings slavishly. Well, with one notable exception. Read the book—it really is worth it.

But it is Spark’s defiance of literary conventions which I find fascinating.

Brodie ignores literary conventions

Lack of internal thoughts

A novelist’s access to the thoughts of at least the protagonist allows we understand the character’s world view, her fears, her desires, and hopefully find her sympathetic enough to want to know what happens to her.

Spark never uses this technique. Absolutely no internal dialogue. And yet we have a perfectly clear image of who she is.

How does she do it? By having her girls, their parents, her colleagues and her various lovers be fascinated/annoyed/jealous of her. From those sources, we have a complete picture.

Normally, I would be all over this. It verges on tell, not show. Spark forces us to rely on the observations of others rather than our own. It should be difficult to ‘get’ the character if her thoughts are closed to the reader.

And yet, it totally works. I know who Jean is despite Spark writing with one hand tied behind her back.

Shifts of Points of View (POV)

Because of intense fascination of Brodie’s girls with her, we get lots of shifts into their POV. We are inside the heads of the non-major characters and it all seems perfectly natural. But multiple POVs are usually frowned upon, particularly, you would think, because there isn’t one for the main character.

Shifts of time

In addition, Spark casts forward into the future to talk about the fictional present. She depicts the Brodie girls as adults, discussing how they view Brodie now. Just fascinating..

Breaking the rules

You might think that Spark could get away with what she did as she was depicting an over-the-top persona. The flamboyance of the character makes it easy for others to know her and pass that knowledge on to us.

But other authors have used the same technique with much more taciturn lead characters. Cormac McCarthy, the author of, in particular, All the Pretty Horses features cowboys in many of his novels. Can you imagine a bunch less likely to admit to having inner thoughts, much less sharing them? And yet he also makes it work (also worth reading, by the way).

So, authors can and do break rules that are normally considered sacrosanct. In Breaking the rules, I discussed the danger of writers assuming that they can be as wild and crazy as they like, assuming that their readers will take it lying down. But news, the only thing they might lay down is your book. Next post: When to Break Literary Law.

June 19, 2020April 9, 2020

I Love Self-Editing

In recent posts, I’ve talked a lot about the self-editing you need to do to your draft manuscript. I fear your spirits might be sinking at the amount of work which looms ahead.

It can be a lot of work. Unless, of course, you’ve decided that every word is perfect, every character fully developed. Then we have a problem of a different sort. But assuming you have identified scenes to fix or write, it may be discouraging. It might even disincline you to do anything further which would be a great shame.

So I am here to tell you that actually, self-editing is fun. Yes, fun. I love to do it, maybe not more than writing itself, but it’s right up there.

This post will try to convince you to take on editing as an adventure rather than a drudge.

Editing seems to be largely about taking out stuff and putting other stuff in. Both are fun.

Self-editing: the taking stuff out

This is more often the copy editing phase. You are looking for the normal grammar, punctuation, missed and extra words. But in addition, there is seeking out and destroying the clumsy bits always in a first draft. Like the “hello, how are you”s and the tortured way you got the character out of the room. Rereading makes you realize you could simply stop the scene rather than have her get up from the chair, say her good-byes, move to the door, take the elevator to the ground floor—you get the picture.

Although this may sound weird, I get a positive thrill in lowering the word count. So much so that I actually track the number cut. Useless, no? But it provides a great sense of satisfaction. I don’t know why, it just does. And this is not just the crazy lady talking—many writers really get into this.

Fundamentally, I think self-editing appeals to my latent Napoleon complex. I am in complete control. I can do anything I want. I can push events around wherever I want. I have the power of life and death over my characters. See, Napoleon.

Self-editing: the putting stuff in

The other part of editing is identifying what is missing. Often scenes needed to clarify the plot or develop a character more fully.

While they probably take more brain power and imagination, these putting in parts also have their appeal. For one thing, you usually have a relatively short scene to write. You already know where you want to go so it is much more doable than writing the full sweep of the novel.

Because in these concentrated bits you already know what you want to accomplish, it allows focus on the quality of the writing rather than juggling plot, character, flow, and theme as you typically have to do when you wrote the novel originally.

There is an unexpected pleasure in having all the pieces of your novel and being able to reconstitute it in a way which is stronger, more elegant, and just plain better.

June 12, 2020June 12, 2020

How to Write an Action Scene

A high-speed, stunt-filled incident isn’t the only thing which qualifies as an action scene. It can be any point in the plot where you want the tension to ratchet up by way of some physical acts. A bitter argument between two characters might be tense but would not typically be seen as action unless/until one socks the other and they get into a punching/hitting fight.

But whether it’s getting out of the wizard’s lair or the hero fleeing from mafia types, you want your reader to be right with your protagonist, weaving and dodging with him towards his goal. The story itself will provide some of the fascination for the reader but there are some quite mechanical ways to heighten the enjoyment of your scene.

Ways to improve an action scene

I’m going to discuss a couple but I can’t emphasize enough that these techniques should be considered after you have written the scene. Don’t start writing with thoughts like “Right—short sentences.” If you do, you risk flattening your writing by focusing on following the rules rather than creating excitement.

Let the creative side run free and after the episode is written, consider the following.

Short sentences

Not: She was stymied by the locked door and didn’t know what to do.

Rather: The door was locked. She was stymied. What to do?

As much as possible, you want to create a kind of staccato effect in your writing. Sentences with more connecting words (e.g. and) are better in more reflective moments.

Action words

Obvious, but sometimes forgotten in the heat of the writing.

Not: She was totally unprepared by the hit of a fist on the side of her head.

Rather: His fist hit on the side of her head.

I think the ‘totally unprepared’ was intended to convey shock or surprise. You could add an adverb like ‘suddenly’ but I have already expressed my views on the overuse of adverbs. I would prefer an action like ‘She staggered.’

Limit internal dialogue

Think about when you have been in an urgent situation—your son has fallen down the stairs or you are in a car accident. Do you think, “Oh my god, what should I do?” Well, you might if you were Hamlet or some other famous ditherer. But more likely, you’d spring into action—checking for injury, calling 911, etc. Keep this in mind when writing these types of events. The characters are generally doing and not thinking about it.

If you want them to react, do it after the action is completed, for good or ill, not during.

Terse dialogue

In a TV show I saw, the spaceship was about to crash land and the pilot yells, “Lower the screens so I can see better.”

First of all this is a bit of an AYKB or an As-You-Know-Bob piece of dialogue intended to tell the reader something that all the characters in the scene already know. In our example, wouldn’t any crew worth its salt already know why the pilot needs the shields down even if you, the reader, may not?

In an emergency situation, the pilot is more likely to yell, “Lower the shields!”

This might seem like a niggle. But you need to remember that if you want your reader to feel the tension of the scene, the characters need to act tense. And this is often communicated through terse dialogue.

Alls to say, remember that people in urgent situations don’t use full sentences, don’t observe social niceties like please and thank you and don’t provide onlookers with background information. Neither should your characters.

June 5, 2020June 5, 2020

Enhancing Character Growth

Character growth—the Holy Grail of writing. Even in a largely plot-driven narrative, novels which also depict their characters evolving add a richness and depth to the story.

I’m not a big fan of knowing exactly how your protagonist will develop. Oh, you might have a vague idea—a story of redemption, for example. But I think it works best if you start with an opening scene—depicting a greedy and callous man, for example—and letting things flow from there.

But you knew that I’d say that, didn’t you, since I generally advocate a haphazard approach to writing?

So, it follows that enhancing character growth is a post-first draft activity. Naturally, you’ve already spent a good deal of time developing and growing your character while writing the novel. This post helps you enhance or highlight the development to strengthen the story.

Character growth questions

Isolate the scenes where your target character appears. I often create separate file with them. Then, answer these questions:

How do you feel about the protagonist?

Really, do you like him? Or, with a really dark character, do you want him to get his comeuppance? Because if you don’t care, how will readers? There has to be enough, even from the beginning, to keep the reader hanging in. If you don’t glom onto the protagonist (can we call him Ben to save me typing?) fairly early, identify scenes which would do this.

What are the critical scenes where Ben grows?

Is this the way you want him to grow?

If so, are there any scenes which need to be strengthened?
If not, how would you like Ben to grow?
Identify some new scenes which might show the intent better.

Is the growth credible?

If Ben goes from crotchety old man to the life of the party in six pages, we have a problem.

Do the scenes transition Ben gradually to the desired end state?
Does each move build on what came before? Say Ben rescues a puppy (I’m not saying it’s a good novel). If this scene happens early on, Ben might hide his good deed because he thinks it shows weakness. The next spurt of growth needs to develop naturally from that point. He might buy better food for the dog, while complaining about the price and threatening to send him to the pound.
What scenes do you need to add or modify so that the evolution is credible?

Is the growth consistent?

Surprisingly, the answer to this question can often be ‘no’ when you read just Ben’s scenes. You may need him to further the plot by punching a cop which doesn’t jive with where he is in his personal growth. If you allow the plot to dominate, you damage the credibility of Ben’s journey of self-discovery because he’ll be seen to be jumping back and forth erratically.

Although this isn’t easy, identify the scenes where Ben’s actions aren’t consistent with his personal growth and figure out how to change the scenes to credibly accommodate both plot and character development.

You can follow this procedure for any character, but it’s a lot of work so I usually stick to the protagonist and characters whose essence eludes me at the moment.

This process may seem a bit mechanical and honestly, it is. But remember, this is not about creating the character. That is all about imagination and inspiration. This is enhancing what you’ve written to strengthen your intent.