In everyday conversation, when someone asks you to describe someone you know, you probably do not say, “She has a penetrating gaze, pale, delicate fingers, and a regal posture.” What do you say?
You probably tell whether a person is short or tall, young or old, skinny or overweight. You might tell the color and length of their hair and their eye color.
All of it usually adds up to an answer to the question, “Are they hot?” Particularly if the person in question is a girl, a question likely to come up is, “Is she pretty?”
I used to write my novels defensively. I was terrified of there being any page where the reader might possibly be confused at any moment, so I would try to cram in as many explanations in as short of a space as possible: my terminology, the history of my world, cultural idiosyncrasies, and geography, for starters.
I wanted to show readers I had done my homework, that I had created a sensible world, that I had fortified it on every side with unassailable logic. As a result I felt less like a fiction writer than a graduate student defending a doctoral thesis.
I forgot that I was not on trial, and that my primary goal was to make readers feel. Information does not need to be rushed, and information not directly related to the story can be omitted altogether.
A famous quote of advice by author Stephen King is “Kill your darlings, even when it breaks your egocentric little heart, kill your darlings.”
In other words, cut passages of writing, even the ones you love, if cutting them benefits the story as a whole. Cutting superfluous text can help writers achieve a leaner, more focused, and more interesting narrative.
When I first read “kill your darlings,” I did not like the advice, not at all. I was fine with cutting passages I considered truly abominable, but parting with passages I loved and had worked hard on felt like cutting off my arm. If a passage worked on any level, I was reluctant to let it go.
When I first began writing fiction, my characters tended to be too passive. Horrible things happened to them, but they never knew exactly what to do. When they did react, they reacted too little.
A student in my college creative writing class had the same problem. His story began with a father losing his toddler son to a senseless murder. The next scene skipped forward a couple of years without ever showing how the father reacted emotionally to this harrowing event. The father, adrift, focused on other things. The father only occasionally thought back vaguely to the “bad years,” with parsimonious allusions to the shattering event that must have transformed his life.
To say that the author wasted an opportunity is an understatement. When characters suffer emotionally, readers sympathize, and sympathy builds an emotional bond between characters and readers.
A common complaint about novels is “too many descriptions.” As a reader I have made the same complaint in cases where I was eager to see what happened next in a story, only to end up entangled in a painfully detailed description of some bucolic farm setting.
Question: Please, tell me, does the baby whose stroller is teetering on the edge of a three mile high precipice live?
Answer: Shh, not now. Here. Look at this grassy field. It has a cow. And grass. Did I mention the grass was green? Emerald green!
Before social media, whenever I would get home from school, I would be all done with socializing for the day. The world was outside my door and all I had to do was lock it for my privacy to be secured – not just physically but mentally. Indoors there was a feeling of safety and comfort. The world was out. I was in. I could relax completely.
In contrast, social media makes me feel that outsiders are with me at all times, even after I lock my door. I essentially am carrying legions of pixelated people around with me on my smart phone – which stays with me all day. When the people who “live inside” my phone talk to me, my phone chirps an audible alert. Someone is talking to you. This is a very big deal. Respond, respond and do it now or…or…
Or what? Or I will be thought rude? Or a mega-ton asteroid will shatter the moon into billions of fragments which will pound, pummel, and obliterate the Earth into space confetti?
The problem was, I could never say no, not to anyone. I even struggled with saying no to my cat.
My life reflected my assertiveness deficiency. At age 26 I was deep in debt from lending money to desperate friends. My schedule was cluttered with activities I dreaded. As a result, I was having trouble sleeping at night and seeing a therapist I could not afford. My life was going to hell.
However, one night something changed me. Tired of tossing in a pool of sweaty tangled sheets, I extricated myself, got up, gathered my plush pink bathrobe from my closet, and crept into the living room where the fireplace was crackling. I had found that watching a fire could make me sleepy.
Sometimes when I do something embarrassing I have a powerful impulse to withdraw into the shadows and disappear. Sometimes I withdraw to a place of imagined safety until I remember that safety can be a death trap far more dangerous than exposure, criticism or ridicule.
Specifically I remember “Field Day” in the sixth grade. Some context: The sixth grade was the year I was bullied. The girl who led to bullying was wildly popular and conscripted her friends in her school-wide campaign of abuse.
During that year it seemed I could do nothing right. Everything I did was ridiculed; the way I talked and walked, the clothes I wore, and my shyness; when I did speak anything I said became fodder for group mockery. My bully and her cohorts would ask me questions just so that they could make fun of my answers, even if my only answer was only “hi.” I literally became afraid to exist.
Nothing ever goes exactly as I plan.
For example, I had planned to release my novel The Ghosts of Chimera this summer. However, when I looked over the content edits from my editor, I saw that they diverged sharply from my vision of the story.
Consequently, I am no longer working with my original publisher, but I will still be publishing The Ghosts of Chimera soon – only in the fall of 2016 instead of this summer.
There is no right or wrong way to feel when writing.
I sometimes have to remind myself to remove the pressure to feel happy while writing. Writing is hard enough without the pressure to feel euphoric. Writing is something I do because I choose to do it, regardless of my mood, over which I have limited control – particularly since I have bipolar disorder.
However, I do prefer enjoying writing to not enjoying it, and there are ways of thinking that, for me, make enjoying writing more likely.
Write What You Want to Write