It’s often said that when you learn to read as a writer, you’re no longer able to read for enjoyment. I disagree. I find that the pleasure is doubled. Not only do you enjoy the art for art’s sake, but you’ve also gained the ability to appreciate the craft behind the art. Here are 12 moments of exceptional craft from the stories, novels, and essays featured at Read to Write Stories in 2015.
1. Turn Your Ideas into Story
Aliette de Bodard is the author of the Aztec mystery-fantasy series, Obsidian and Blood, and the science fiction novel On a Red Station, Drifting.
It’s tempting, as a writer, to use a story as a platform for your ideas about politics, culture, or whatever. But the risk that any story runs when stating its ideas outright is that it can begin to feel more like a rant than a narrative. Aliette de Bodard demonstrates how to turn ideas into narrative in her story “Immersion”:
It takes a Galactic to believe that you can take a whole culture and reduce it to algorithms; that language and customs can be boiled to just a simple set of rules. For these girls, things are so much more complex than this; and they will never understand how an immerser works, because they can’t think like a Galactic, they’ll never ever think like that. You can’t think like a Galactic unless you’ve been born in the culture.
Or drugged yourself, senseless, into it, year after year. (From “Immersion” by Aliette de Bodard. Find the entire exercise here.)
2. Choose the Right Plot for Your Character
Kiese Laymon published two books in 2014, the novel Long Division and a collection of essays, “How to Slowly Kill Yourself and Others in America,” that stunned the writer Roxane Gay “into stillness.”
It’s often said that stories gradually limit the possibilities available to a character, finally reaching the moment where this is only one possibility (and it’s probably not a good one). But when you’re beginning a story or novel, it often seems as though every possible avenue is open. The challenge is to pick the right one for your particular character. Kiese Laymon’s novel Long Division shows how to turn find the right plot for your character:
“We’d like to welcome you to the fifth annual Can You Use That Word in a Sentence National Competition,” the voice behind the light said. “We’re so proud to be coming to you from historic Jackson, Mississippi. The state of Mississippi has loomed large in the history of civil rights and the English language. Maybe our next John Grisham, Richard Wright, Margaret Walker Alexander, William Faulkner, or Oprah Winfrey is in this contest. The rules of the contest are simple. I will give the contestant a word and he or she will have two minutes to use that word in a dynamic sentence. All three judges must agree upon the correct usage, appropriateness, and dynamism of the sentence. We guarantee you that this year’s contest will be must-see TV. (From Long Division by Kiese Laymon. Find the entire exercise here.)
3. Set the Mood of Your Story
Bret Anthony Johnston’s debut novel, Remember Me Like This, features, according to Esquire, a “driving plot but fully realized characters as well.”
Every story tries to reveal the kind of story it is from the opening page or opening shot, in the case of film and TV. If you were to encounter Breaking Bad, for instance, with no knowledge of it, you’d understand after about five seconds what kind of world and narrative sensibility you’d entered. Novels and stories must set the mood as quickly as any TV show, and a great example is the beginning (or pretty much any chapter) of Bret Anthony Johnston’s debut novel Remember Me Like This:
Months earlier, the June heat on Mustang Island was gauzy and glomming. The sky hung close, pale as caliche, and the small played-out waves were dragging in the briny, pungent scent of seaweed. On the beach, people tried holding out for a breeze from the Gulf, but when the gusts blew ashore, they were humid and harsh, kicking up sand that stung like wasps. By midday, everyone surrendered. Fishermen cut bait, surfers packed in their boards. Even the notoriously dogged sunbathers shook out their long towels and draped them over the seats in their cars, the leather and vinyl scalding. Lines for the ferry stretched for half an hour, though it could seem days before the dashboard vents were pushing in cool air. Porpoises wheeled in the boats’ wakes, their bellies pink and glistening. (From Remember Me Like This by Bret Anthony Johnston. Find the entire exercise here.)
4. Build Stories (Genre or Literary) on Logistics
Rahul Kanakia’s story, “Seeking boarder for rm w/ attached bathroom, must be willing to live with ghosts ($500 / Berkeley)” was published in Clarkesworld, which recently won a Hugo Award for best Science Fiction and Fantasy Magazine.
A story’s success is determined, in part, by how imaginatively it digs into the practical details of its idea. Ghosts are ghosts, for instance. We’ve seen them countless times in books and movies, and, as a result, we tend to grow accustomed to the rules and conventions of the ghost-story genre. A good ghost story (or any kind of story), then, will play with the practical logistics of those conventions in order to make us see them with fresh eyes. Rahul Kanakia’s ghost story, “Seeking boarder for rm w/ attached bathroom, must be willing to live with ghosts ($500 / Berkeley)” does exactly that:
Chris once told me that human beings are hard-wired to feel an “urgent sense of distress” at the crying of a baby. Well, that’s not true. You know how many times I’ve gone down to the Kaiser Hospital over on Howe Street and sucked the ghost of a crying baby out of one of their incubators? Just maybe like two hundred times. Crying babies? That’s a Wednesday for me. (From “Seeking boarder for rm w/ attached bathroom, must be willing to live with ghosts ($500 / Berkeley)” by Rahul Kanakia. Find the entire exercise here.)
5. Create Conflict with Subtext
Diana Lopez is the author of the YA novel Ask My Mood Ring How I Feel and the managing editor of the literary journal, Huizache.
Conflict is essential to fiction, and, of course, the easiest way to create conflict is by pushing characters into a fight or argument. But how do you set the stage for the big confrontation? One way is to establish competing needs or desires (I want my neighbor to cut his grass, and he wants me to keep my opinions to myself). Relying on this strategy too often, though, can lead to predictable scenes. A story needs unexpected arguments. One way to set those up is with good intentions. In fiction, as in real life, we’re often stunned to find out that our good deeds are not always appreciated. Diana Lopez uses this strategy perfectly in her middle grade novel Ask My Mood Ring How I Feel:
He pulled out her chair. He could be a real gentleman, but since he pulled out Mom’s chair only at fancy dinners or weddings, this was weird. Mom must have thought so too, because she hesitated before sitting down. Then Dad went to his seat and told us to dig in. We did. Quietly. For once, Carmen wasn’t acting like a know-it-all and Jimmy wasn’t begging for something to hold. It was a perfectly quiet dinner like Dad had wanted, but it sure wasn’t peaceful. (From Ask My Mood Ring How I Feel by Diana Lopez. Find the entire exercise here.)
6. Create Villains
Jennifer Ziegler’s middle-grade novel Revenge of the Flower Girls, was so popular that a sequel is already forthcoming.
For a reader, one of the most satisfying parts of a novel is the presence of a villain. We want someone to root against—this is true for books as well as films, sports, politics, and often everyday life. And yet as writers (especially literary writers) we’re often reluctant to create characters of pure malicious intent. We have a tendency to attempt to view the situation from the villain’s point of view, if only briefly, if only to make the character a little bit redeemable. In real life, this is probably a virtue. But in fiction, it’s often necessary to behave worse than our real selves. A great example of the appeal of a villain—and how to create one—can be found in Jennifer Ziegler’s middle-grade novel Revenge of the Flower Girls:
“Well, then,” said Mrs. Caldwell, dabbing at the corners of her mouth with a napkin. “I think it’s obvious that these meatballs would be best, along with some salmon-topped canapés and bacon sliders.”
“But…Lily doesn’t eat meat. She’s vegetarian,” Darby said, louder and more slowly than when she’d said it before.
“Yes, but Lily isn’t going to be the only person eating at the wedding,” Mrs. Caldwell said.
“Yes, but Lily is the bride,” Delaney said. (From Revenge of the Flower Girls by Jennifer Ziegler. Find the entire exercise here.)
7. Create Meaningful Spaces
Donna Johnson’s memoir, Holy Ghost Girl, portrays the author’s experience growing up as part of the inner circle of a revivalist preacher.
Every writer has heard this piece of advice: Don’t write a scene in a vacuum. Choose a setting that will impact the characters’ decisions. Not all settings are created equal. Force two characters to have an argument in the bathroom, and the result will be different than if they have it at the dinner table. In Donna Johnson’s memoir, Holy Ghost Girl, the sense of place is vividly palpable in the book, as the first pages of the opening chapter make clear:
The tent waited for us, her canvas wings hovering over a field of stubble that sprouted rusty cans, A&P flyers, bits of glass bottles, and the rolling tatter of trash that migrated through town to settle in an empty lot just beyond the city limits. At dusk, the refuse receded, leaving only the tent, lighted from within, a long golden glow stretched out against a darkening sky. She gathered and sheltered us from a world that told us we were too poor, too white trash, too black, too uneducated, too much of everything that didn’t matter and not enough of anything that did. Society, or at least the respectable chunk of it, saw the tent and those of us who traveled with it as a freak show, a rolling asylum that hit town and stirred the local Holy Rollers, along with a few Baptists, Methodists, and even a Presbyterian or two, into a frenzy. (From Holy Ghost Girl by Donna Johnson. Find the entire exercise here.)
8. Write Surprising Sentences
Our Secret Life in the Movies by Michael McGriff and J. M. Tyree is a collection of linked stories inspired by films from the Criterion Collection such as Bladerunner and Devilfish.
Stories are built out of sentences. Almost everything that happens on a story level (plot twists and reversals, slow-building suspense) also happens at the sentence level. So, it pays to study good sentences and try to imitate them. You won’t find better sentences than those in Our Secret Life in the Movies, a collection of stories by Michael McGriff and J. M. Tyree:
When she discovered the little bottle of morphine—the secret stash under the kitchen sink that I had lied about throwing away—she was so angry that she took off her blue Nikes and threw them at me, one after the other, the second one clonking off the back of my head and clattering into the unwashed dishes. She unfolded her knife and stabbed the bottle on the counter as if the poor thing were a possessed child’s toy in a horror movie. Then she tried to set fire to it with her Zippo, leaving a mangled and melted heap, while screaming, “Happy Birthday!” It was like watching someone burn down a forest or kill a kitten. (From “Yuri Gagarin Explores Outer Space” from Our Secret Life in the Movies by Michael McGriff and J. M. Tyree. Find the entire exercise here.)
9. Stretch Prose to Include More Than Plot
Jeffrey Renard Allen’s latest novel, Song of the Shank, about Blind Tom, a former slave and piano prodigy, has been named to a list of best-of lists for 2014.
The Onion once ran the headline, “Nation Shudders at Large Block of Uninterrupted Text,” and that may be the reaction of many readers to the first paragraph of Jeffrey Renard Allen’s novel Song of the Shank, which continues for more than two pages. This is an approach to writing that we’re not used to. In fact, as writers, I’m willing to bet that most of us would struggle to write a paragraph that lasts two pages. The present action is stretched so much that we almost forget what is happening and, instead, focus on what is happening around the action:
A clear track, left foot and right, running the circumference of the house, evidence that someone has been spying through the windows, trespassing at the doors. Had she been back in the city, the idea would already have occurred to her that the journalists were to blame, those men of paper determined in their unstoppable quest to unearth the long-lost—three years? four?—”Blind Tom”—Half Man, Half Amazing—to reproduce the person, return him to public consumption, his name new again, a photograph (ideally) to go along with it, the shutter snapping (a thousand words). (From Song of the Shank by Jeffrey Renard Allen. Find the entire exercise here.)
10. Set Up the Second Half of Your Novel
Natalia Sylvester’s debut novel, Chasing the Sun, is set in Lima, Peru, during the terrifying years of the Shining Path and tells the story of a marriage-in-crisis that is pushed to the brink by a kidnapping.
One of the inescapable truths of storytelling is that you must get to the story quickly; it’s the reason readers won’t be able to put down your book. This is true for every kind of story, but it’s especially true for a novel that fits into the category thriller. Yet if the novel focuses solely on kicking off the plot, it won’t give itself enough material to keep going once the initial plot mechanism runs its course. This is why many early novel drafts tend to stall out after 70 to 100 pages. The question is how to do two things at once: hook the reader and also plant seeds that will sprout later in the book. An excellent example of planting seeds can be found in Natalia Sylvester’s novel Chasing the Sun:
He sighs, unsure how to explain the less concrete aspects of his business. “Sometimes those kinds of things help the situation along. A man like Manuel wants to know the person he’s about to do business with shares his values. That he’s a good husband, a family guy. That he can be trusted.” (From Chasing the Sun by Natalia Sylvester. Find the entire exercise here.)
11. Use Plot Spoilers
Sean Ennis is the author of Chase Us, which “expertly captures the tumultuous lives of youth on the streets of Philadelphia.”
Every writer will likely at some point begin a story with a spoiler—by giving away a major plot point. It’s an effective strategy. The reader wants to know what happened—how did the story get to that point? But it can also be a surprisingly difficult strategy to pull off. You can give away too much, or you can reveal an ending that the reader isn’t interested in. So, how do you make it work? Sean Ennis does an excellent job of using this kind of opening in his story, “Saint Roger of Fox Chase“:
The night Roger was beaten to death, I was out there running, too. For weeks, he had been trying to convince Clip and me to hang out at the Fox Chase playground on Friday nights. The older kids were buying beer and selling cups for a buck. The girls that came were getting wild, dancing to the music blasting out of car stereos, and flashing their chests.
I was skeptical. The guys that hung around the playground at night were not my friends; they got in fights, smoked. I knew some of them from soccer, and we had a tenuous truce because I could play, but I didn’t want to tempt things and didn’t care much about drinking beer. Seventh grade is a tenuous time. (From “St. Roger of Fox Chase” by Sean Ennis. Find the entire exercise here.)
12. How to Write a Story Ending
Óscar Martínez’s essays about traveling with Central American migrants were published in the Salvadoran online newspaper El Faro and collected in The Beast: Riding the Rails and Dodging Narcos on the Migrants Trail.
The Salvadoran journalist Óscar Martínez has written one of the best story endings I’ve ever read in his nonfiction book The Beast: Riding the Rails and Dodging Narcos on the Migrant Trail. Martínez spent two years traveling with Central American migrants through Mexico on their way to the United States. One of the migrants he meets is a teenager named Saúl, who was born in El Salvador but raised in Los Angeles, where he joined the M18 gang. He was deported after robbing a convenience store. The beginning of the story is pretty simple. He’s beaten by thugs, members of the Mara Salvatrucha gang, and taken to their leader, who, in turns out, is Saúl’s father. Watch how Martínez ends the story:
But in the days following, the man gave Saúl a gift. The only gift Saul would ever receive from his father. He publicly recognized him as his son, and so bestowed to him a single thread of life. “We’re not going to kill this punk,” Guerrero announced in front of Saúl and a few of his gang members. “We’re just going to give him the boot.” And then he turned to Saúl. “If I ever see you in this neighborhood again, you better believe me, I’m going to kill you myself.”
They left him in his underwear in another Mara Salvatrucha neighborhood. He only got out alive by covering himself (and the 18 tattooed on his back) in mud and pretending to be insane. (From The Beast: Riding the Rails and Dodging Narcos on the Migrant Trial by Óscar Martínez. Find the entire exercise here.)
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