Tone – Joseph Carrabis, Author Blog

The Writer’s Digest Handbook of Short Story Writing

A good worker’s trade book

The Goodreads blurb is “Some of the best advice available on how to create character, use description, create a setting and plot a short story.” The Amazon blurb is “Here’s a collection of the most helpful articles from WRITER’S DIGEST magazine covering every aspect of short story writing. Every writer, from beginner to professional, will find guidance, encouragement, and answers to such concerns as how to make characters believable, developing dialogue, writer’s block, viewpoint, the all-important use of conflict, and much more.”

Definitely some advice although not until the third section (Characterization). The first two sections read more like Brenda Ueland’s If You Want to Write, basically cheering sections for those unsure and/or starting out (which is to be expected. This was the handbook for the Writer’s Digest Fiction writing course).

I can believe that the separate chapters were Writer’s Digest articles. They both read as such and, from a business perspective, why solicit for something already owned?

Is it helpful? Yes. I was suprised at how much new (to me), useful information the book contained (once I got past the rah-rah sections).

There’s enough in here to keep writers developing their craft going for quite a while. I do recommend it.

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Quit Stage Directing

Keep Moving Forward!

Do you ever go back over your past efforts to rewrite/rework/update/improve?

I do. Often. I’ve discovered lots of stage direction in my earlier works (“earlier” meaning everything from just a few days ago to my earliest efforts).

Funny, because I spot stage directing easily when critiquing others’ work. And note that stage directing is different from stage direction characters. The latter serve a story purpose, the former rarely does.

The crux is in that last line – “…serve a story purpose…”

Example
Here’s a scene from the published version of Empty Sky:
She walked up to him and ruffled his hair. “Hey there, skippy. You here to dream?”
Jamie frowned under her hand. “My name’s Jamie.”
Carsons, walking back to his sleep chamber, turned. “What’s your name, son?”
“Jamie McPherson, sir.”
Joni’s hand had dropped from Jamie’s head and pointed to the old, small, black and white picture on Lupicen’s console desk. “Who’s that?”
Jamie followed Joni’s gaze. He looked from the little boys in the picture to Lupicen and back.
Lupicen tapped the dark complexioned boy’s face with his fingers, then pointed to the lighter faced boy. “Yes, that boy, the younger of the two, that is me. this other boy, he is my older brother, Émile.
“He is the reason for all of this.”
Al Carsons came over to get a good look at Jamie and found himself staring at the picture. He pointed to the older boy. “Him? That’s your brother, Émile?”
“Yes. He is responsible for all I do here.”
“How’s that?”
Dr. Lupicen rocked back in his chair so that his feet were unable to touch the ground. He looked at the picture and sighed, then tilted his head back until he was staring at the ceiling, closed his eyes, took a deep breath and began. “It happened long ago, on a hill on the outskirts of my village, Crit¡, in Rumania…

Keep the reader moving forward smoothly!

If nothing else, the above is full of rough transitions. Character A does this, character B does that, character C does something else and the reader is tugged and shoved from A to B to C like a prisoner in a chain gang rather than being smoothly passed back and forth like a basketball in an All-Star game.

Here’s the rewrite followed by what makes it better:

Show, Don’t Tell

The best writing allows the reader to experience the story as the characters do

Every wannabe author hears “Show, don’t tell” until their ears fall off and fly away rather than listen to another dollop of unexplained advice.

Some writing teachers give examples but most often it goes something like this: “Here, this is an example of showing, not telling” with no explanation of what makes something shown and not told.

I mean, we’re dealing with words on paper. We call ourselves (figuratively) Storytellers. How can we share a story without telling.

Ah…let me provide an example much in the vein of Great Opening Lines – and Why!.

Here’s a paragraph from Carson McCuller’s The Heart is a Lonely Hunter and an explanation how things are shown (I’ll provide explanations of showing using the methodology I use when ala critiquing someone’s work. First, the paragraph:

Portia read from the Book of Luke. She read slowly, tracing the words with her long, limp finger. The room was still. Doctor Copeland sat on the edge of the group, cracking his knuckles, his eyes wandering from one point to another. The room was very small, the air close and stuffy. The four walls were cluttered with calendars and crudely painted advertisements fro magazines. On the mantel there was a vase of red paper roses. The fire on the hearth burned slowly and the wavering light from the oil lamp made shadows on the wall. Portia read with such slow rhythm that the words slept in Doctor Copeland’s ears and he was drowsy. Karl Marx lay sprawled upon the floor beside the children. Hamilton and Highboy dozed. Only the old man seemed to study the meaning of the words.

Now, what is shown element by element:
Continue reading “Show, Don’t Tell”

Gable Smiled (work in progress)

A different take on A Horse and His Boy

[[Note: This content is edited from the public version. There’s a five question quiz at the end.]]

Valen patted Gable’s muscular neck as they trotted into Lensterville. They’d been ten days out, mostly soldiering Sipio’s vast Northern Plain, and this time of year that meant heat with a capital “H”. Valen could feel his own sweat trickling through the hairs on his chest and back, and every time his Ranger issue travel cords relaxed around him, his scent rose like steam washing his face.

Not pleasant.

Not so Gable’s smell. Gable was a Callisto class ModEquid, part horse part…something. Valen was never sure what and Gable liked to keep him guessing. Mostly horse on the outside, Gable’s sweat was the sweet musk of heavy horse, working horse, a gentle giant unless riled and it took a lot to rile him. There was a tang of trail dirt and rich plains tallgrasses and lathering neck and flanks that Valen thought wonderful, comforting, reassuring, and it made him proud that Gable had taken so to him.

“Let me know when,” he said to the horse.

Gable smiled back, Any time you’re ready.

Valen performed an emergency dismount, Gable still trotting so that Valen landed running beside him on the horse’s left, reins in Valen’s right hand. He knew Gable liked to run side-by-side, the two of them together, and the horse always smiled laughter at the man’s two-legged gait.

No speed, Two-Legs, he would smile at Valen.

“Yeah, well…speed when I need it,” Valen said back.

Barry Longyear’s “Science Fiction Writer’s Workshop – I: An Introduction to Fiction Mechanics”

A Series of Open Book Exams on Writing, Regardless of Genre

This is another book I picked up years ago during my first round at writing. Longyear signed it and I’d highlighted parts of it so obviously read it before and didn’t remember doing so.

The power of this book is that it’s written from a student’s perspective. Longyear (I’m thrilled to see he’s still active. I lost track of him for several years) puts in the effort to remember his mistakes and the mistakes of others, and show the reader how to correct them. Another strength is the book’s examples – mostly from Longyear himself – with detailed explanations of what’s wrong with them and how to fix them.

Each chapter comes complete with an extensive Q&A/Study guide at the end, every answer to which can be found in that chapter or by combining knowledge gained from previous chapters with the current chapter. Anybody remember “Open book exams”? This is one and it’s a wonderful training program.
Continue reading “Barry Longyear’s “Science Fiction Writer’s Workshop – I: An Introduction to Fiction Mechanics””