Tag Archives: The Writer’s Field Guide to the Craft of Fiction

Dallas: The Writer’s Field Guide to the Craft of Fiction at Interabang

26 Mar

Heads up, Dallas, TX: I’ll be reading from The Writer’s Field Guide to the Craft of Fiction at Interabang Books tonight, Monday, March 26, at 7 p.m. You can find Interabang at 10720 Preston Rd, Set 1009B, Dallas, TX 75230.

I’ll be joined by special guest, Tex Thompson, who will read an excerpt from her rural fantasy novel One Night in Sixes (think of something along the lines of Steven King’s Dark Tower series). I’ll create an exercise based on the excerpt and talk with Tex about the craft in the novel and in turning points in general.

I hope to see you there!

 

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AWP and The Writer’s Field Guide to the Craft of Fiction

8 Mar

unknownIf you’re in Tampa for AWP this week, this is where you’ll find me and The Writer’s Field Guide to the Craft of Fiction.

Friday, 10:30-11:30 am, A Strange Object’s booth, 1708.

I’ll be signing books and, for anyone who brings a book or chapbook they’ve picked up at the book fair, I’ll create a writing exercise on the spot based on one page of that awesome new story or novel that you’re so excited about!

And, since A Strange Object is my wonderful publisher, you’ll find tall stacks of The Writer’s Field Guide there.

Friday, 7-9 pm, Gram’s Place (3109 N. Ola Ave)

I’ll be reading along with four other fantastic writers: Rita Bullwinkle, Jen Sandwich, Tom Hart, and Claire Vaye Watkins. The venue is a Gram Parsons-themed tree house. Yep. There will be free drinks as long as they last.

 

4 Strategies for Crafting Scenes (You Know, the Things Stories Are Made Of)

28 Feb

One of the regular questions writers and teachers are asked is about the difference between literary and genre fiction. There are differences, but one of the things I found while putting together The Writer’s Field Guide to the Craft of Fiction was that both literary and genre writers were doing a lot of same things. This shouldn’t be surprising. A story is a story, and any distinctions almost certainly fall into what an author wants to focus on as opposed to any difference in quality.

This is especially true when you start looking at the basic building block of any story: the scene. Characters act, those acts have immediate consequences and possible effects down the line, and tension is built or released. In the chapter on writing scenes, I included four incredibly different writers–no kidding. No book has ever before paired the master of East Texas horror and mystery Joe R. Lansdale with Teju Cole, a writer whose work represents the height of meditative literary sophistication. And, the chapter includes not one but two Texas writers, including Bret Anthony Johnston, who recently moved from Harvard to the University of Texas to direct the famed Michener Center for Writers.

(If you’re in Austin, Johnston will be a special guest at the book launch for The Writer’s Field Guide this Thursday, March 1, 7 pm, at BookPeople.)

You can check out parts of the writing exercises based on their work, plus one based on Rachel Kushner’s award-winning novel The Flamethrowers. You’ll find that not only do the writers use similar strategies, they also work together to create a cumulative effect that can be used in a single work.

You can buy The Writer’s Field Guide at BookPeople and also here.

A Short Preview of the Exercises

Each excerpt is accompanied by an essay on the craft within it and an exercise for adapting the strategies to your own work. Here are one step from each exercise:

Give Your Characters Space to Be Themselves, inspired by Honky Tonk Samurai by Joe R. Lansdale

DISTILL YOUR CHARACTER’S PERSONALITY TO ONE OR TWO TRAITS. Some writers may resist this; their characters are too complex to be distilled to a few words. And yet we do this all the time in real life. We say, “That so-and-so is such a ____.” People who subscribe to astrology will say, “He’s such a Virgo.” Try filling in the blank. What sort of temperament or personality does your character have?

 

Use Repetition to Increase Tension to an Unsustainable Level, inspired by “Encounters with Unexpected Animals” by Bret Anthony Johnston (which appeared in The Best American Short Stories)

FIND A DETAIL THAT CREATES SOME EFFECT. This is a good strategy to use in revision. Read through a scene and find some detail that is charged negatively or positively. In Johnston’s story, a father doesn’t like his son’s girlfriend, and so he decides to force them to break up. But to make that story work, the reader needs to understand why he doesn’t like the girl. The reader needs to feel the father’s dislike, which is shown through details. In your scene, what makes your reader happy, sad, or angry?

 

Write Action Sequences with Minimal Choreography, inspired by The Flamethrowers by Rachel Kushner

SUMMARIZE THE ACTION. While you don’t want the final scene to resemble a transcript of Mortal Kombat, you do need to know what happens. It can be involved (numbers of kicks and punches) or general, as it probably was with Kushner (motorcycles ride through the streets, out of sight, and then return). Also, action doesn’t only mean fights and chases. If a character walks from one place to another, that’s an action sequence. Washing dishes, building a fort, and shining are also action sequences, as if anything that can descend into a list of actions: cast, reel, cast, reel, etc.

Make Interiority the Focus in Action Scenes, inspired by Open City by Teju Cole

CHARACTERIZE THE MENTAL STATE. Cole does this plainly: “I was unnerved.” A line like this is helpful for a couple of reasons. First, it offers a filter for the thoughts. Aimless contemplation risks losing the reader. There should be a goal, an aim, a point. A character who is unnerved, angry, stunned, thrilled, relieved, or anxious has an end or desire in mind. Secondly, the mental state sets the stage for the action. Cole’s narrator is unnerved for good reason, as it turns out. He’s unnerved, and so are we.

 

Good luck.

You can buy The Writer’s Field Guide to the Craft of Fiction here.

 

How to Save Your Darlings, Not Kill Them

26 Feb

Everyone who has taken a writing workshop has, at some point, heard the advice, “Kill your darlings.” A lot of very confident writers have said or supposedly said it: Hemingway, Faulkner and Welty are just a few. Through repetition, the maxim has acquired the solidity of one thing that young writers often desire most: a rule to follow. Sometimes it’s even true. But even more often, you pick up a book you love and see example after example of lines that must have been precious to the author.

–Read the entire essay—with exercises based on work by F. Scott Fitzgerald, William Gibson, and J. D. Salinger—at the Austin American Statesman.

You can pre-order The Writer’s Field Guide to the Craft of Fiction here.

How I Learned to Love (and Learn From) My Kids’ Favorite Books

23 Feb

When my wife and I decided to have kids, we felt pretty sure that they would grow to love reading as much as we did. Even before our oldest son was born, he was getting a taste for literature. In bed at night, I read Tom McCarthy’s weird, avant-garde novel REMAINDER aloud to my wife’s pregnant belly. It was our version of playing Mozart. We didn’t expect that it would make our baby a literary genius, but it was a way to talk to him in a language we loved. Sure enough, when the nurses were drying and weighing, the nurse said, “Say something, Dad,” and so I spoke. Xavier turned his head toward me. The nurse nodded. “He recognizes your voice.”

–Read the entire essay about what I’ve learned from my kids’ favorite audiobooks at the wonderful writer Samantha M. Clark’s blog.

 

You can pre-order The Writer’s Field Guide to the Craft of Fiction here.

 

My Book Has a Cover!

30 Jan

One of the things I’ve always admired A Strange Object (beyond the inventive, smart story collections they have published) is the beautiful covers they create for their books. I couldn’t wait to see what they would do with The Writer’s Field Guide to the Craft of Fiction. Now it’s official:

The cover was created by Austin-based artist and set designer Lisa Laratta. She actually built the topographical feature in the image. On the back of the book, the image wraps around and continues. It’s a cover that speaks to the explorative nature of the book, investigating the types of fiction that can be written. It also reminds me of the maps my wife and I have used when hiking in New Mexico and the maps I used to pore over when my father went to the local federal office to register his CRP (Conservation Reserve Program) ground; the acres withdrawn from crop production and reserved for grassland had been shaded in by hand with colored pencil by my father. Even though I knew every part of the farm, seeing those same fields from a different perspective made me realize how much there was to discover about it. It’s the same way I feel about reading great fiction in order to expand my skill as a writer.

To learn more about The Writer’s Field Guide and to pre-order the book, click here.

 

 

4 Strategies for Creating Compelling Characters

23 Jan

“An indispensable book that belongs on every serious writer’s desk.” Buy the book here.

Last week, Austin experienced two days of real winter, which meant my 6 and 8-year-olds had no school. Because it was cold and icy, playing outside wasn’t any fun, so we did what anyone would do: watched movies and built medieval siege equipment out of pencils. They both really wanted to watch Mel Brooks’ Robin Hood: Men in Tights, but I didn’t feel like explaining all of the sex jokes, so instead I introduced them to Indiana Jones and the Raiders of the Lost Arc. I hadn’t seen the movie since I was a kid, and so I was surprised at how corny it is. It wasn’t just the special effects (skeletons that look like Halloween decorations); the plot is pretty silly as well. But that didn’t matter. The movie holds up, and my kids loved it, because Harrison Ford creates a captivating character. We would have watched him in any movie—and throughout the 80s and 90s, American audiences did.

The movie was a reminder that if you can create a great character, the rest of the story often falls into place. Or, at the very least, the story gets easier to tell.

You can find four exercises designed to create captivating characters in The Writer’s Field Guide to the Craft of Fiction. They exercises are inspired by excerpts from two novels and two stories: the novels The Regional Office Is Under Attack! by Manuel Gonzales and Half-Resurrection Blues by Daniel José Older and the stories “My Views on the Darkness” by Ben Marcus and “Proving Up” by Karen Russell.

You can pre-order The Writer’s Field Guide here.

A Short Preview of the Exercises

Each excerpt is accompanied by an essay on the craft within it and an exercise for adapting the strategies to your own work. Here are the first steps in each exercise:

Create Characters with a Single, Definitive Trait, inspired by The Regional Office Is Under Attack! by Manuel Gonzales

  1. GIVE YOUR CHARACTER A DEFINING TRAIT. It can be something physical like size, hair color, or an odd body part; in Homer’s Odyssey, the Cyclops, as everyone remembers, has one eye. You can make the trait behavioral: a tic or disorder (as in The Curious Incident of the Dog in the Night-Time), a pattern of behavior (laughing at the worst moments), or a temperament (rage, kindness). You can also use a piece of clothing or accessory; everyone knows that the Monopoly man has a cane and top hat.

 

Make Your Characters Into Something New, inspired by Half-Resurrection Blues by Daniel José Older

  1. IDENTIFY THE TYPE OF CHARACTER. It’s no secret that characters fall into types: heroes/villains, protagonists/antagonists, detectives/ criminals, butt-kickers/butt-kickees, and lovers/love interests. Think about the role your character plays. Is she the one going on a trip? The stranger coming to town? For just a moment, think about your story in terms of those outlines we’re all familiar with. Which one are you writing?

 

Define Your Character’s Emotional Response to Conflict, inspired by “My Views on the Darkness” by Ben Marcus

  1. SKETCH THE OUTLINES OF THE CHARACTER’S CONFLICT. Marcus’s story uses the genre of apocalypse. People on earth are dying in seemingly large numbers. Not much else is revealed—and we don’t need much else. People are dying, and the living are searching for ways to survive. That’s the conflict. So, begin by stating your story’s own conflict in a sentence or two: _____ is happening, and this causes ____ to happen. This structure works for intimate conflicts as well as apocalyptic ones:

X had an affair, so Y ____.
X got sick, so Y ____.
X owed me money, so I ____.
X fell in love with Y, and Y _____.
X did ___, and so her best friend Y ____.

 

Generate Tension by Giving Characters Unequal Access to an Object of Desire, inspired by “Proving Up” by Karen Russell

  1. IDENTIFY THE OBJECT OF DESIRE. The object is often named in the title: The Treasure of the Sierra Madre, The Lord of the Rings, The Goldfinch. Or the object is implied by the genre: love, vengeance, the solution of a mystery. In most cases, the object is set before a character as a prize, but it’s only over time that the object gains personal importance to the character. This is especially true in mysteries: someone gives the detective a job, and at some point, that job becomes personal. (Sometimes there’s even a line: “Now it’s personal!”). So, even if the object seems a bit dry at the start, you’re at least giving yourself something to work with, a direction to point your character in.

 

Put these strategies to use, and you may have the next Indiana Jones at your fingertips.

Good luck.

You can pre-order The Writer’s Field Guide to the Craft of Fiction here.

 

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