My game-changing story development system is soon to be launched on Kickstarter, so if you want to get updated so you can be among the first to change how you create stories, please subscribe to or follow this blog.
Tag Archives: mastering writing
It’s pretty amazing to pull off. If you can pull it off. Make the POV character appear to be the protagonist so convincingly that the only way anyone would ever notice s/he is actually the antagonist is to re-read the story with a mental focus on someone else.
The quote is from The Generous Gambler by Charles Baudelaire: “The loveliest trick of the Devil is to persuade you that he does not exist!” If you’re a writer and you can disguise your antagonist as a protagonist, you can convince readers to look elsewhere for the story’s devilment. By doing so you’ve created an undercurrent of such angst that it keeps readers digging right through to the back of the story trying to figure out the source of their uneasiness.
But like anything that makes us feel that way, we just have to make it go away, to resolve it somehow. But even when you find out, you’re left with a permanent sense of self-doubt about who’s the real devil.
In my last Story Analyst post, The Second Glance, I discussed how Margaret Mitchell did such a thorough job convincing readers that Scarlett O’Hara is a proto-feminist survivor and hero of phoenix-like power who has been a role-model for millions of women, especially those who faced the Great Depression and WWII, that it isn’t until you look at the story through Rhett’s choices that you realize there’s something very different going on – and it’s so much darker and more sinister than readers realize.
This is playing with storytelling DNA. It’s the epigenetics that runs deep in the molecular matter of powerful, memorable narratives that no plot twist could ever equal. Plot twists merely change a story’s outcome. Great storytelling DNA allows writers to flip a switch through this epigenetic quality that changes what the story is depending on how you look at it. It’s not just the appearance of one thing until the end confirms the trick, like a Shyamalan movie. It’s simultaneously different stories.
In The Virgin Suicides [spoiler alert: plot points and ending will be discussed], when Jeffrey Eugenides introduces us to the collective voice of the neighbourhood boys who witness the tragedy of the Lisbon family, it’s very easy to get so caught up in the fact that we’re being told this story from their perspective that we assume their role is that of any ordinary narrator – the protagonists in a story about their efforts to understand what happened in the house across the street (I’ll refer to the narrators in plural, although it’s never entirely clear).
But Eugenides does something so clever – or intuitive – and subtle that it’s never even mentioned when you read reviews or critiques.
The narrators are not protagonists. The narrators are the antagonists.
They’re sexual predators.
While they’re busy asking themselves what was wrong with the Lisbon girls, we should be asking ourselves what’s wrong with these boys and, potentially, boys. Period.
After all, they are as a narrator a multi-headed beast, the collective “we”. A Chimera.
What we’re convinced by the narrators is fascination with a family of beautiful girls is actually a lurid and dehumanizing sexual obsession. It’s a prolonged, concentrated, group violation on the sisters during a period of their sexual formation that slowly chips away at their sense of security, privacy, integrity, selfhood, sexuality, and identity – as all violation does – until their damage is so irrevocable that suicide is the only way they can escape the torture that’s described to us in such passionate and delighted terms. And like all sexual violence, the community shares blame by doing nothing about what’s going on. Boys will be boys, right?
Check out the first scene. Cecilia the Stoic is floating in the bloody water of the tub after having slit her wrists, with a laminated “picture of the Virgin Mary … held against her budding chest.” Spirituality and sexuality together are an important cue for what we’re about to experience; they are not just dichotomies which, taken to extremes, are devastating, they are also inextricable binaries that bleed into one another. Repression and profligacy, denial and dogma. The boys and the Lisbon parents play out this drama in tandem, trapping the girls, squeezing the humanity and life out of them from both ends.
Every single detail matters symbolically to the story, even the fact that the picture is laminated.
By linking this imagery, Eugenides is already revealing the terrible source of the sisters’ pain, and by using the term Stoic (as opposed to stoic) right off the bat he’s instructing us to not look at the story based on what we are told, but by what we witness of the players’ behaviors. That’s what Stoicism is, and it’s an important revelation to place right there at the beginning.
The story is so richly written that there’s hardly a thing a reader dares ignore – even Mary in her bedroom window, captured in a real estate photo looking as if her hair were on fire like Lavinia standing at the sacrificial altar from the Aeneid.
(Oh dear fellow writers, this is why you must know your legends and mythologies and biblical accounts! Details like this make you want to snatch Eugenides by his soul patch and kiss him straight on the … forehead? Forehead. I wouldn’t take any liberties, after all.)
The boys’ focus on the girls is expressed with a robust enthusiasm that makes the reader lose sight of what’s actually happening.
Now, instead of teenage boys, let’s exchange the narrators for a group of neighbourhood men and see how it would make any woman feel.
They watch the house, look into the windows. They know intimately the Lisbons’ comings and goings. They watch them from their own homes. The girls are their masturbatory aids.
When one of the boys is invited to dinner, the entire experience is framed through the narrators’ sexualized interpretation. If the girls are kicking him under the table, it isn’t just youthful goofing around. It’s sexual. It’s arousing. When the boy goes upstairs to use the bathroom he violates their privacy and sanctity by making a creepily detailed inventory of their rooms (the bra hanging on the crucifix reinforces the spirituality/sexuality binary) and the contents of the bathroom, right down to the shade of lipstick they are able to match to its owner when they spy on her later. Which is disturbingly specific. He digs into the trash and finds a used tampon – something the narrators sickeningly find titillating, like the handkerchiefs dipped in blood after an execution and kept as a souvenir.
One of the boys crawls through the sewage system to break into the house with the intention of watching them shower and to spy on them in their most intimate moments. When he hears water running he enters the bathroom without hesitation . He’s on the hunt, that’s what he’s there for. There is no question of his entitlement in this act.
Imagine someone doing that to your home, your private, personal space invaded by someone who is willing to permanently cripple your sense of safety, privacy, and feelings, just so he can watch you shower. It’s so rapey it should send chills down the readers’ spines. But it doesn’t. Like all other aspects of rape culture, even in its infancy stage (which this novel perfectly illustrates) our only response has always been going blind, deaf, and mute in its presence.
So the boy walks in on the opening scene of the book – Cecilia naked in the bath, covered in blood from her slit wrists.
Now, by this time the boys have been watching and sexually abusing the girls for quite a long time. This is not a new development. There’s no way the family – or at least the girls – would be unaware of the lewd interest always directed at them.The boys have opened their pants and exposed themselves to Cecilia. They have looked up her dress. Transgression is their norm. It’s our norm.
After the funeral – of a thirteen year old girl – another boy admits he “would have copped a last feel … if only [the others] had been there to appreciate it.” They enlist a neighbourhood girl to take inventory of Cecilia’s bedroom post-suicide, even checking to see if the sheets have been cleaned, what’s in her underwear drawers.
Even in these moments of finality, the narrators’ prey is denied her own space, sanctity, dignity, and peace.
They further impinge on her right to respect by getting hold of her diary, stolen by a plumber’s assistant, and pass it around, fingering it like porn instead of returning it to the family. Even the sisters’ medical records are later breached as the boys grow up and research every aspect of their lives in their increasing fetishization.
The high school bad-boy, Trip Fontaine, later tells the boys he loved Lux like he’d never known love before or since, that it was a once-in-a-lifetime thing. Yet he pursues her relentlessly until she finally finds herself on the football field on prom night losing her virginity to him. She awakens there in the morning alone. Despite his claim that he never loved anyone the way he loved Lux, he abandons her after sex and discards her there on the field like a used condom, then never speaks to her again – or even sees her.
Stoic. We must look at the actions, not the words.
On and on it goes, a portrait of boys so secure in their romanticized depravity and their right to it that even we the readers grow too fascinated by the Lisbon girls to really notice much more than a faint cringiness as we’re reading.
Violation is the norm. The knife-sharpener delivers a fifteen minute demonstration just to leer at fourteen-year-old Lux sunbathing in a bikini. Fourteen.
Each of the girls is a casualty of these experiences. Set up against the increasing repression and break-down of their parents, they react in ways that any rape or sexual assault victim – or any therapist – will agree are credible: depersonalizing, disengaging, becoming hypersexual, disappearing into faith or mysticism.
With each progressive assault on their privacy, burgeoning identity, and sexuality, the girls go from being normal, healthy, vibrant young women to depressed, disconnected, and suicidal.
None of this happens until the boys begin to essentially violate them – sexually or otherwise – on a continuous basis. The girls are their sexual fantasies and little else, a living, breathing pornography that requires no consent, and no humanity.
Is it any wonder the girls invite the boys over to return the violation: they use the boys’ blind lust to lure them to the house where each girl one by one commits suicide right under their noses. It’s the only way the sisters can regain their power as women and as human beings.
This is a story about a group of boys’ sexual awakening at someone else’s expense. When, finally, they ask themselves if they contributed to what happened, the only conclusion is no, they didn’t.
Of course not.
Look at the way those girls acted. Look at the way they dressed.
They weren’t just asking for it. They were begging …
Bravo, Eugenides. That was truly the loveliest trick of all. Your readers thank you.
Writers, how about it? Could you pull it off?
You know that quality in the stories you love, and love to read over and over – the quality that almost sends little electric shocks into the story-center of your brain? Ever wonder what that is?
And yes, there is a scientifically proven story-stimulus center in your brain called the corpus fabella, and it’s right at the center of the middle commissure –
Not really, but some day I’m sure such an area of the brain will be found.
Anyhow, let’s explore where those little shocks come from in narrative, and what it has to do with our lifelong love of certain stories.
I’m going to use Gone With The Wind here as an example, because it’s probably the most known story on the entire planet. Now, I’m not talking about the movie. The movie is just a surface treatment of the story, and excellent as it is, much has been lost of Mitchell’s detailed subtleties and meticulous character development.
For generations everyone has seen the story from the perspective of Scarlett the survivor. She’s got the gumption. She remakes herself into a civil-war phoenix. Since the Great depression, women everywhere have admired and emulated her moxie and strength. People used to break bookstore windows just to steal the display copy, touching nothing else in the store, nor any other book in the display.
When was the last time you heard anyone have that reaction to a book? Well, as much as literary snobs like to deride GWTW for various obvious reasons, there are also compelling reasons it has lasted as long as it has.
It’s not what it appears to be.
In fact, there’s something very dark going on under the surface. It’s hidden in full view, but its energy is part of what leaves the reader tingling in stories like these, without ever being able to identify what exactly delivers the electric shock.
Dig a little deeper and you’ll unearth a startlingly different story if you look at Rhett’s actions. Starting with the introductory rumor at the Twelve Oaks BBQ that as a youth Rhett took a girl riding without a chaperone, ruined her (whatever that means, but we’re assured no there was no baby), then refused to marry her. This introduces us to Rhett’s attitude toward women, social mores, and marriage, all in one anecdote. Oh, and plus he looks at Scarlett as though he sees her without her “shimmy” on, which suggests his raw sexual interest in her. This is the first moment that links Scarlett to “ruined women” through Rhett, and it’s Mitchell’s promise to the reader that Scarlett will be ruined. Besides war, Rhett is Scarlett’s most important apocalypse.
Contrast all that with Rhett’s deference and respect for Melanie, Scarlett’s polar opposite temperamentally (who also embodies the qualities Scarlett loves most in her own mother and wishes but fails to emulate), and the one woman in the world she hates most. Rhett has no respect for Scarlett, but he also has no sexual interest in “ladies” of his own social class whom he can respect. Neither can he seem to truly honour any “lady” with sexual qualities.
The next woman to whom we’re introduced through Rhett is Belle Watling, Scarlett’s polar opposite socially. Notice the subtle positioning of Scarlett’s social identity as a Southern Belle against the prostitute’s deliberate naming. Notice, further, the connection between Scarlett and “the scarlet woman” – the whore of Babylon or, in this case, Atlanta, who is destroyed by the beast with seven heads and ten horns. Rhett is continually described by the qualities of his head. The ten horns – well, you can figure that one out.
Mitchell drops these little literary squibs into the story to tell us something we hardly notice, yet their bursts together are far more important than the story we all think we know.
Rhett compares Scarlett to Belle. The problem is that Scarlett belongs to a social caste that makes her unattainable to him because of his “fallen” status. And the problem with Belle, whom he seems to love AND respect, is that she’s an illiterate white trash prostitute who’s no lady, and he’s still at his very core a Southern gentleman. As a partner she is completely unacceptable. All his social interactions with her are through her bordello and behind closed doors. They are never seen together in public, though continuously connected because it’s Rhett who owns the bordello, whose carriage she drives, whose handkerchiefs she uses, and to whom she has entrusted the care of her son – who may or may not be Rhett’s child as well.
No matter how hard Rhett rejects his caste and culture, it’s part of who he is. We see how deeply this is entrenched when he actually leaves Scarlett on the road to Tara to join the Confederates for their final suicidal push despite how he despises the Cause. We see this when he courts Melanie’s respect and loyalty then, after Bonnie is born, he works at regaining his reputation so she can have the very social position he has openly reviled all along. Even in the end, when he’s walking out on Scarlett for the last time, it’s to return to his people to try to find what he’s lost of the gentility and decency he himself has gone out of his way to destroy – in Scarlett as much as his own life. All without a single pang of conscience – or even awareness – of his own role in creating her to begin with.
None of this deep-running caste identity matters, though. Rhett is a social outcast, ruined. He can never truly be part of decent society again. Not in that world, anyhow.
In GWTW we are not watching the slow growth of a naive narcissist into a hard-headed business woman and survivor. Oh no. What we’re witnessing without really realizing it is Rhett’s deliberate, methodical breakdown of Scarlett into the kind of woman he can possess only by destroying her. He can’t have Belle – ever – because he can never lower himself enough as a Southern gentleman to legitimize her. Neither can he remove her from the society that has rejected them both – say, West where their reputations won’t follow them or won’t matter – because he’s too rooted. But what he can do is take a fool like Scarlett, who comes from his own caste or in fact one slightly lower, and remake her into a socially acceptable Belle – the scarlett woman and “counterfeit bride” he deserves.
This isn’t just subtle suggestion either. He says it over and over, and in fact warns her off at one point because he tells her he’s destroying her. But she’s such a vain, self-absorbed child that she – and we the readers – fail to notice. We’re too wrapped up in her scheming and electrifying personality to notice that even her scheming is being manipulated from the sidelines by Rhett to a large extent.
All this adds a dark energy to the story, which readers feel but can’t specifically identify. Nobody ever sees GWTW as the story of a woman’s slow ruin at the hands of a master manipulator, a predator, and, quite possibly, a sociopath. We’re too blinded by what’s going on at the surface to see it but it runs through the very depths of the story with a kind of self-sustaining power.
It’s a darkness and an energy that keeps the reader off balance enough to return to the story over and over in order to understand why, no matter how many times we’ve read it, we still question and doubt, we still can’t see it clearly enough, nor can we ever know for sure if we got it right.
We don’t know how we’ve come to care for these characters – the kinds of people most of us might not even want as friends or to date or marry. In fact, look deeply enough and you’ll find that they’re all pathetic, pathological fools.
Just like us.
We cheer for them, and despite how they’ve chipped away at and tortured each other through three inches of paper and binding, we insist on fantasizing that they’ll still get back together a few pages after the end not because they’re both horrible, disturbed people who deserve each other and shouldn’t be inflicted on anyone else, but because we’ve been unable to engage our critical thinking for a single moment since “Scarlett O’Hara was not beautiful” (a fact to which we also seem to blind ourselves exactly one sentence later and for the rest of the story – as indeed, we are caught by her charms), and have thus convinced ourselves that what has just happened is love – and one of the greatest romances ever.
It’s this dark center in the story that keeps GWTW from floating off into the ether of a pulp romance. It’s not what it seems to be. You can tear off layer after layer and find something more, but because we’re so enraptured by the surface energy of these tantalizing characters, we fail to notice another kind of shiver pulsing down our spines, and that’s the scary, mutually destructive risk of love.
After the initial read with stories like these, something tugs at us so we go back and find more, then the tugging happens again and we go back to find still more.
Within the powerful surface story of survival and love is layer upon layer of electrically charged deeper realities that tell us more and more about who we are. Mitchell was a powerful observer of family life and character, but she writes it all with such gusto that we develop a love and devotion to the very kinds of people we can’t tolerate when we run across them in our own lives, and in doing so she’s freeing us of our own resistance to the faults and failures of others to show us that we are all stories of love and survival.
But at what cost?
So we dig through these surface narratives to learn what those costs can be.
That’s the second glance.
That’s what great writers offer their readers.
Little by little, as narrative has transitioned from a means of interpreting human experience to one of interpreting personal experience, and from expression to self-expression, we have lost our focus on story as a means of connection with others.
So let’s start with this: writing is to storytelling what talking is to conversation. Writing is a monologue. Storytelling is a dialogue. You can talk at someone without ever being in a conversation with them. Unfortunately, more and more writers simply write at readers.
Great writers are great storytellers, and they know they’re in a kind of conversation with readers.
So what’s the problem?
Well, it’s the writing paradigm that we’ve all bought into which creates a natural barrier between writers and readers. Right now the process of story production such as it is begins with an idea, continues with extrapolating that idea to the writer’s satisfaction, and ends with a completed manuscript.
After that, if the writer wants to reach an audience it becomes the publisher’s responsibility, along with all the various supporting strategies now available digitally.
As writers we’ve come to rely on the sense of security that the work of establishing readership is out of our hands and placed into a delicately balanced system of marketing and PR and social networking and cash. It’s branding, it’s positioning, it’s funding. If the book fails it’s because some part of that system – or all of it – has failed. Even when we’re busy with promotion ourselves as writers, the outcome still depends on the success or failure of promotion.
That’s how we’re being brainwashed anyway.
The final fall-back for blame is that the writer wasn’t much good to begin with – or was just too beautiful for this world. Only one of those is ever true – and about 99% of the time.
But the failure of the formula is not the root of our failure to reach readers. The failure is that how the reader fits in is wrong. The whole writing paradigm is wrong, wrong, WRONG.
Now, you’re probably thinking – but isn’t that the way it’s supposed to go? Where’s the pitfall?
Think about it like this:
The job of reaching the reader shouldn’t start with the publisher. It shouldn’t even start with the writer. It should start in the writing.
Now, when I’m talking about the reader, I don’t mean the vague reader-as-theoretical-consumer that writers assume – the imagined persona that comes with the question we’ve all been told by well-meaning advice-givers to ask ourselves at some point – “who is my reader?” – which represents the kind of demographic that would pick up a book like ours.
Some of us imagine a particular friend or relative as a stand-in for this mythical consumer, or we latch onto a more successful author’s fanbase to claim as our intended fans.
Which really only means “I want her buyers or I want his buyers” without ever understanding the most powerful reasons the writer has earned those readers to begin with.
But identifying who your ultimate fan might be is a terrible misunderstanding of the role the reader plays in story creation. We imagine some ghostly set of characteristics hovering in the backdrop that silently love – and buy – our kind of writing.
Nothing could be farther from the truth.
The reader is not outside the text, watching, assessing, guiding.
For the writer, the reader is not a demographic. Not a consumer. Not even a potential fan. That’s who the reader is after the fact, once the story reaches the marketplace.
Before that point, for the writer, the reader is in the fact, in the story as it’s being created. The reader is as absorbed into the text as the writer is.
But if you as a writer don’t understand what this means, there’s no way you can engage the reader through your creation. And if you don’t engage the reader, no amount of writing or marketing or money or social networking will ever create an audience for you.
A consumer is just someone who buys a product. A fan is a happy consumer.
The reader is the other half of the story-mind. The reader is the other participant in a narrative conversation. If the story has failed, it’s because the writer failed primarily as a storyteller and secondarily as a writer.
Being in that dialogue and getting into the reader’s head is not the job of the publisher, or the social network, or bloggers and book-selling entities. Getting the book into the reader’s hand is the publisher’s job, the job of marketing and promotion.
Getting into the reader’s head is the writer’s job. And writers don’t have a clue how it happens.
It isn’t magic or some mysterious creative force, or luck, that you either have or don’t have. That’s what talent and genius bring to a narrative.
And this is not to say in any way that writers should produce what they think an audience wants to read. It has nothing whatsoever to do with that at all. It’s about understanding how the reader’s mind interacts with story.
The most important factor in reaching the reader is storytelling, and understanding storytelling requires that the writer understand what creates a story beyond just the act of writing.
But right now, storytelling illiteracy is rampant among writers. Storytelling illiteracy has been fostered by the writing paradigm and supported wholeheartedly by the publishing model as an acceptable minimum.
Reaching the consumer is not what creates success. It’s reaching the reader first that makes success even a remote possibility. Yet something goes wrong somewhere between the writer and the writing. All you can do is cross your fingers and hope that the string of plotting details you’ve laid out works and that the outside forces will do your job in addition to their own to get readers interested.
That’s an awful lot of your life and creativity to leave to luck or someone else’s whims.
But in the current writing paradigm, that’s what writers are doing. We’ve all been absorbed into this creed and have even taken the blame for how it consistently fails us.
We’re awful storytellers, and the writing paradigm makes it impossible for us to know it. It privileges writing over storytelling, so writers can spend years in the writing community at every level – from informal writer’s groups all the way up to graduate programs – without ever being taught what creates storytelling, and without ever knowing how badly we’re messing it up.
The insurmountable problems writers are consistently creating in their narratives are developing out of a writing paradigm that sets writers – and publishing – up for failure. In fact, in the writing paradigm, success is the anomaly rather than the rule. There is no other choice.
While we labour away according to a writing paradigm, stories that last grow out of a storytelling paradigm. We no longer have the knowledge or the ability – or justification if you listen to some people – to privilege storytelling over writing. In fact, in some circles incoherence and a complete lack of storytelling are honoured as evidence of literary superiority, but if you look at some of the masterpieces of experimental narrative, there is nothing incoherent about them. They adhere to the principles of storytelling as much as any straight linear work. But the writers then break narrative into bits and pieces so the reader must approach it archaeologically or forensically and representationally and linguistically as a rare thing to be discovered and mentally reassembled. Experimental writers are failing not because they’re too smart for the reader but because they actually believe that the narrative is created out of incoherence. Not so.
We need a new paradigm, and it has to be a storytelling paradigm that gives writers a holistic view of narrative that embraces reader engagement. The storytelling paradigm is the one that accepts that the story doesn’t end with a finished manuscript but rather a finished story.
What a massive difference that makes in the outcome. When the writer has taken control over storytelling, it means that the reader has been engaged before the query even reaches the publisher’s desk. If a story is well-written and well-told, then even with a minimum of marketing effort there’s at least a chance that the groundswell will come from readers pushing for the book instead of the publisher.
Isn’t that what we all want? Don’t we want to create that hunger in readers?
NarraForm, the world’s only panoramic storytelling tool, providing writers with the continuity and perspective needed for beginning-to-end control of story development, has launched on Kickstarter. It’s the only story development aid anywhere based on unique storytelling benchmarks found only in the best fiction the world has ever seen. Become a backer and be among the first to change how you create and develop stories, and at great values that won’t be possible once NarraForm goes retail.
Here’s the premise. A poor, oddball social outcast salvages a steam engine to win a girl who offers herself as a marriage prize in exchange.
And now the summary. Sit tight, it totally gets better. Totally. A poor, oddball outcast is walking to church one day behind the pretty orphaned niece of a shipping entrepreneur, and after she writes his name in the snow along the roadside he falls obsessively in love with her – which is always the best kind of love.
Her uncle’s ship, invaluable because it’s the only steam-powered vessel anywhere and is the source of his wealth, runs into a reef, but with the treacherous conditions and impossibility of the task, nobody wants to lift a finger to go get it for the old coot. The girl, who sure has a high opinion of herself, promises to marry anyone who can salvage the engine. Obviously selling yourself for an engine beats, say, getting a job to help out a bit. Imagine the shot to her ego when the only taker is the village weirdo.
So the young man sets out for the reef determined to win his prize of an insincere but sweetly naive tease.
The bulk of the novel is about his
resolute pig-headed struggle against the sea, starvation and thirst, and the work of trying to jerry-rig a way to remove the engine without destroying it (all without the proper tools) as the ship slowly breaks apart.
All for this totally worthy woman.
[spoiler alert: end of the novel discussed ahead]
superhuman psychotic amount of effort he eventually saves the engine and, half dead, sails back to the village to claim his wife and reward. Now, by this time he has been written off for dead and his beloved has already forgotten about him and fallen in love with someone she just met a moment ago. Upon our hero’s return he overhears the girl accept a marriage proposal from the much better looking, less weirdo-ish Anglican priest from the “in-crowd” – a bit like the head cheerleader throwing over the kindhearted but pimply D&D freak for the football captain. Rather than force her into marriage our friend instead arranges their wedding and helps them board a ship to whisk them away to a happy life together. Then he climbs up into the rocks along the seashore to an indentation at the crest that forms a rock-chair. As he watches their ship disappear into the horizon, the tide rises and he allows himself to drown. The end.
Oh, and plus there’s a haunted house.
And a monster octopus.
And it’s a statement about the Industrial Revolution.
Did I mention the haunted house?
Um … what? Who would read that? More to the point, who would write it? It sounds like some terrible manuscript Elaine Benes would be asked to edit for a job in publishing.
So who wrote it?
Victor Hugo, that’s who. Yes, that guy, the Les Miz guy. It’s Toilers of the Sea, and it’s one of the most taut, harrowing stories you’ll ever read. You will swear at that idiot Gilliat, you will pound your fists against air because of him, you’ll white-knuckle it through gale-force winds and feel rigging lash and snap through the air around you. You will loathe and admire him and curse him and feel for him and cheer for him –
– then on the power of pure adrenaline (because you will, I promise you, be completely, physically wasted) you will stand straight up from wherever you were when he dies in that damned rock-chair and you will make weird chuffing noises like “bu – he – I – he – b – ” then you will lay or sit right back down, hold the book to your chest, stare out into the literary void and say, “Merci, M. Hugo – or should I say mercy.”
When you’re able to stand again on your own, the first thing you’ll have to do is hobble over to see your doctor, who’ll ask, “What brings you here today (you hypochondriac)?”
You’ll say: “I need to see a physiotherapist.”
“Oh?” You’ll get that look, you know, the down-the-nose look that says what now, moron? “Hurt yourself?”
You’ll squinch your shoulders a bit, avoid eye contact. “Uh, yup. Hurt myself.”
“What did you do?”
“I uh – ” (quick, think, do you say you hurt yourself READING?)
“- I pulled something – “ (think, think -)
But the words will just disgorge into the room: “- See, there was this IDIOT, and he was trying to salvage this steam engine off Guernsey and it was so cold and I – sorry, he – didn’t have the proper clothes and there was this storm, and the ship started breaking up on the rocks and there wasn’t enough food or water and I – he – he had to get this engine off the wreck and it was days and weeks and – I don’t know, I lost track of time, it was like war, it was this war with the elements and this octopus monster and my own – his own – stupidity and all I wanted was to get that damned engine off that damned ship – and now my back and muscles are killing me -”
“You did say therapist, right?”
Ahh. That’s what happens when you take a weird, unworkable premise and give it to a master, and he proceeds to PHYSICALLY. HURT. YOU. WITH. IT.
Now, why is it that we all probably have way better premises stashed away somewhere along our writing experience, and all we manage to do is write an awful story?
Well, for one, Victor Marie Hugo knew how to tell a story. We don’t.
What’s interesting is that telling a great story can still go hand-in-hand with some tremendous flaws. We can all agree that ole Victor Marie had a tendency toward the melodramatic. But it’s so delicious! He also frequently just droned on and on and on about background facts in punishing detail but man, it’s so worth powering through to get to the good bits because usually that, together with the big picture and including the droning parts, is so much more important than any flaws.
There is nothing particularly likable about the premise of Toilers of the Sea. The protagonist is the kind of poodley oddball you’d feel burning holes in the back of your head without having to even turn around to see him there. The kind of guy who would make hang-up calls. Lots of them. Every day. Watch you from a parked car down the street. The girl’s a bit of a jerk whom you suspect will never really care for him no matter how good he is because of his position. Almost the whole story is this grueling struggle for some dumb engine. There’s just so much to turn a reader off. It’s not sexy. It’s just sad and exhausting.
And 1000% worth reading. It’s Hugo’s unsung masterpiece, unfairly eclipsed by you-know-what.
So what’s our old pal Vic doing to make it work?
He knows how to break your heart with all the qualities you don’t want to like about it. Gilliat’s life is bleak, and his obsessive love for Deruchette, as wrong-headed as it is, gives him a little hope for something deeply human: to belong – not to the girl herself but to what she represents, and that’s life inside the circle of human connection. Belonging. To be a part of the whole instead of apart from it.
His struggle for the engine becomes a stand-in for the epic human struggle to change the course of a life that otherwise has very little going for it. Little by little the reader goes from wondering why Gilliat would even bother, why he doesn’t give up in the face of so much catastrophe, to understanding that he’s not fighting for an engine at all or for Deruchette’s love, but rather for simple hope and acceptance. We don’t believe in Deruchette’s love or sincerity, but he does. He has to. Nobody can live as an outcast without suffering, and even the risk of death is not too great if it will mean an end to the suffering of exclusion. So when Deruchette goes, Gilliat’s hope goes too. Despite expending all he had, he still loses. There’s nothing left in him to fight again for even a shred more of hope and he can’t live on as an excerpt – so he can’t live on at all.
When Hugo is done with us, we understand how epic the human spirit truly is to create change – for the heart, for the soul, for the body, the family, or the conditions we can no longer endure as they are. There is a bit of Gilliat in all of us. Hugo shows us how much the human spirit can expend of itself and endure for hope and, when Gilliat sits in that rock-chair to slowly die, how easily it can be broken when hope is gone.
In fact, it works because Hugo chooses such an odd premise instead of just vomiting up one more iteration of the same ideas everyone else is kicking around, and because he knows that the story is a stand-in for something much, much more valuable.
Don’t be afraid to offer the reader an unusual premise for an unusual story. But kick it up by making it about way more than what it appears to be at first glance.
It’s that second glance that changes everything.
Follow this blog for updates about a game-changing story development tool that can help turn writers into storytellers. Whether you’re using complicated software or your own methods to help you write, this is the tool you’ll need first to understand how to create an engaging story instead of just writing.
Is there really only one?
Fatal – ? You tell me.
(full text here)
Click here to download: fiction-timeline-worksheet-3-0-sandrachmara
Follow this blog for updates on the upcoming launch of a game-changing story development tool that will do what no existing writing management system can – turn writing into storytelling so writers can finally understand how to engage readers to give themselves the best possible chance of getting read and getting published.