What my writing professor was referring to was 'character driven fiction'. He wanted us to write stories not based around plots, but rather just around characters, and have us shine the characters true persona through the events occurring to the individual themselves. This was revolutionary for me at the time, as I had always designed my stories having in mind what I wanted to happen, and when, and who the character was going to be with when it happened, and how the character was going to react. Then I thought, where's the fun? It might make for an entertaining story in the end for the reader, if I am able to keep them guessing, but ultimately for me the fun of getting to know a character and developing with them as the pages turn was vacuumed right out of the entire writing process.
I went on a kick of two authors at this point in my life: the late J.D. Salinger, and Richard Russo. I believe both are amazing writers. Salinger a little more than Russo, but Russo still has time to get there. Russo is also fairly underrated and unknown of among my friends whom I have discussed his books with. Pick up any of his paperbacks next time you are in a store. I highly recommend Mohawk, Straight Man, and Empire Falls. The latter was made into an HBO series some people might have heard of. I never saw it, though the cover of the copy I have is apparently a shot from the film series.
Both of the aforementioned authors have immersive characters who you see develop, so naturally, you seriously feel like you're there. I know that's the way many people feel about their favorite authors, but I just for the life of me could not get into the Harry Potter series. I know about 50% of anyone reading this just squealed an obscenity and dropped your coffee on your keyboard. I'm sorry. I'm not a Harry Potter fan. I purchased and read through the first three books and I just couldn't get into it enough to get the other copies. I definitely dislike mass-media, too, so I've avoided reading the currently popular Twilight series. So I can't comment on Twilight, but the style Harry Potter was written in, I did not like. Predictable.
I should add, I'm not against anything that kids get into when it comes to reading. I know all too well that todays youth does not read, or if they do, it is cliff notes on their iPhone before their paper is due. So if kids go into Harry Potter mania and stay up late at night reading, that's great. I'd buy my kids Harry Potter books if they wanted to read them. Read something, anything. Just stop playing video games (so much-- I played video games as a kid and still do, but they shouldn't be the only activity the kids indulge in).
Well now that I'm off of my old-man soapbox, on to the 'activity' for this Doohickey, just one for this page.
Exercise: Outline a story in which your main character's true nature emerges indirectly, through his/her "behind the scenes" thoughts and actions, which contradict the public ones.
I'm going to cheat on this one. I already have a story, which is the one I was just quoting the comment from my writing professor. I re-read it as I was writing this Doohickey, so it is fresh in my mind. I'd been meaning to rework it anyway, so maybe I'll get around to that someday.
So, here's the gist of this story.... a 20 year old (Josh) is at a big university, dating this girl (Marie) from the next state over, roughly three hours away. They just started dating fairly recently, and we jump into the story just after their relationship has started. It's a weekend visitation sort of thing, not necessarily every weekend but they do what they can and they both work towards being patient towards travel limitations and such, and accommodating each others busy schedules.
Quickly we learn, from following Josh even when he is not with Marie, that he is living a sort of double life. He has quite the reputation as both a party animal and a 'ladies man'. So, the audience is thrown for a little bit of a loop when they learn that Marie is a very conservative Christian girl, a virgin to sex and alcohol, and a driven academic student.
As the audience is trying to figure out who to root for, the ladies man or the conservative girlfriend, we drop hints that Josh is looking for ways to change. He is a stronger, more confident person when he is with Marie. Though, after 2 weeks pass without being able to see each other aside from Skype Webcam calls, he starts to crack a little. Hopefully by this point the audience is starting to root for him to change, because then we go and have him go to a party, pickup a girl, and get laid.
Bombshell (Both the girl he picked up, and the effect of this well timed -though possibly expected- event in the story)! So now everyones all wondering whats going to happen, so we have Josh experience an emotion he has never felt before: guilt. I've felt guilt before, and I'm sure all of you have too, about something. You can think back right now to something you've said to someone, or done to someone, that you feel bad about and wish you could take back. I can think of numerous things.
We observe Josh battle with guilt, notice his change in how he is the next time him and Marie are together --probably roughly a week after this event. We see if he starts changing, maybe Marie's saintly patience and naive optimism gets the audience rooting for her and wanting her to give Josh a well deserved boot. Still, Josh will change by little events and little gestures over time. Surprise visits. Does he ever tell her about the one night stand? Yes, closer to the end, but not after the momentum and magnitude from that event in the story is lost. Then there would be another conflict, and Josh would have to convince us again that he is a changed man.
Comments
Change in character or moral usually takes lots and lots of baby steps. I liked what my writing professor said and I'd like to reflect back to that to conclude this, "We stay close to the narrator's thoughts and feelings, but you never hit us over the head with them..." Never hitting you over the head. Change is the 'nail', and you could picture a block of wood as yourself, your character, or your morals. If you try to drive the change (nail) straight through you in one big step (one stroke of the hammer) chances are you're going to split the wood or just drive it in wrong, and have to pull it out and start all over. You might even get real lucky and miss entirely, and be the new owner of an awesomely discolored and bruised thumbnail for the next month or two.
It's best to use tiny strokes of the hammer (tiny steps) to fit the nail (change) into the wood comfortably and securely, pointing in the right direction. I know this from my own changes I've integrated into my own life. I still struggle with some of them. I'm still tapping on that nail of Christianity, trying to become a more responsible and accurate follower of Jesus. I tried too many times to bring that nail in with just one swift stroke but that didn't work for me. Old habits die hard. To be honest, I'm surprised I managed getting a second daily consecutive post for this, and I'm surprised I went into this much detail. I think I'm going to like this blog, and I don't care if you stopped reading because you're a Harry Potter fanboy and can't believe someone doesn't like the series.
And remember, when you inevitably end up with a bunch of bent nails from life, stick them into mini-sausages and call them party favors!
No comments:
Post a Comment