Interesting language 8

Nothing could be done about the fact that he was only a homeschooled kid, no matter what he said, and she was a recently graduated senior taking on the cross of womanhood before her time. . . . Speaking in a calm and sensible manner, he completely failed to persuade his mother that he knew what he was doing.

From The Mighty Red by Louise Erdrich, these are two excellent examples of sentence-level tension.

Reading 2024

The Consuming Fire (The Interdependency, #2)John Scalzi2024/12/23
The Circle That FitsKevin Lichty2024/12/16
The VegetarianHan Kang2024/12/11
The Collapsing Empire (The Interdependency, #1)John Scalzi2024/12/04
When We Cease to Understand the WorldBenjamín Labatut2024/12/04
After WorldDebbie Urbanski2024/11/26
The Mighty RedLouise Erdrich2024/11/24
A Sorceress Comes to CallT. Kingfisher2024/11/03
My Very End of the Universe: Five Novellas-in-Flash and a Study of the FormChris Bower2024/11/03
Creation LakeRachel Kushner2024/10/27
Buried Treasures: Reading the Book of Mormon Again for the First TimeMichael Austin2024/10/20
Last Argument of Kings (The First Law, #3)Joe Abercrombie2024/10/12
I Am Homeless If This Is Not My HomeLorrie Moore2024/10/03
Before They Are Hanged (The First Law, #2)Joe Abercrombie2024/09/29
The Blade Itself (The First Law, #1)Joe Abercrombie2024/09/21
Wife with KnifeMolly Giles2024/09/07
Dear Committee MembersJulie Schumacher2024/09/06
The Art of Brevity: Crafting the Very Short StoryGrant Faulkner2024/09/05
State of ParadiseLaura van den Berg2024/08/13
Titanium Noir (Titanium Noir #1)Nick Harkaway2024/08/08
Creative Writing: A Workbook with ReadingsJane Yeh2024/08/07
Jonathan Abernathy You Are KindMolly McGhee2024/08/01
OrbitalSamantha Harvey2024/07/24
Lone WomenVictor LaValle2024/07/20
The Color of Magic (Discworld, #1; Rincewind, #1)Terry Pratchett2024/07/12
This Year You Write Your NovelWalter Mosley2024/07/12
Flash Fiction America: 73 Very Short StoriesJames Thomas2024/07/08
Chain-Gang All-StarsNana Kwame Adjei-Brenyah2024/07/02
The Book of LoveKelly Link2024/06/28
TrustHernan Diaz2024/06/11
Legends & Lattes (Legends & Lattes, #1)Travis Baldree2024/05/28
Dead SilenceS.A. Barnes2024/05/24
DinosaursLydia Millet2024/05/18
Cut and ThirstMargaret Atwood2024/05/14
The Mountain in the SeaRay Nayler2024/05/11
City of Last Chances (The Tyrant Philosophers, #1)Adrian Tchaikovsky2024/05/10
MonstrilioGerardo Sámano Córdova2024/05/04
JamesPercival Everett2024/04/26
The Candy HouseJennifer Egan2024/03/29
Emily Wilde’s Encyclopaedia of Faeries (Emily Wilde, #1)Heather Fawcett2024/03/14
System Collapse (The Murderbot Diaries, #7)Martha Wells2024/03/05
Mermaids in ParadiseLydia Millet2024/03/04
The Vaster WildsLauren Groff2024/02/29
A Psalm for the Wild-Built (Monk & Robot, #1)Becky  Chambers2024/02/18
The Saint of Bright DoorsVajra Chandrasekera2024/02/13
The Thursday Murder Club (Thursday Murder Club, #1)Richard Osman2024/02/02
Prophet SongPaul    Lynch2024/01/23
Coda, Vol. 1Simon Spurrier2024/01/12

Learning from Kushner

I enjoyed reading Creation Lake by Rachel Kushner. Like all good books, there is a lot that could be said about it. From sentence to sentence the writing seems strong to me. Here are two of the elements of craft of the many that stood out:

We read, “You simply don’t like her, I didn’t say.” Kushner directly states what her main character didn’t say, which lets readers know what the character knows and is considering but doesn’t do. It’s characterization by decision-making but decisions on paths not taken. Implying options the character has shares their world with readers. The economy of expression increases the tension at the sentence level as well.

I have tended to avoid spoilers, but describing the next technique without revealing interesting plot details is difficult. You might stop reading now, though I’ll keep things abstract. The main character is involved in spying for a mysterious organization. She provides reports and tries to influence the people she watches in minor ways. Tension increases for readers and the character when her assignment changes. The change means she is no longer employed to just deceive but to actually harm. It’s a simple and direct move by Kushner that grabbed me.

Current events

Art is notoriously hard to define, and so are the differences between good art and bad art. But let me offer a generalization: art is something that results from making a lot of choices. This might be easiest to explain if we use fiction writing as an example. When you are writing fiction, you are—consciously or unconsciously—making a choice about almost every word you type; to oversimplify, we can imagine that a ten-thousand-word short story requires something on the order of ten thousand choices. When you give a generative-A.I. program a prompt, you are making very few choices; if you supply a hundred-word prompt, you have made on the order of a hundred choices.

If an A.I. generates a ten-thousand-word story based on your prompt, it has to fill in for all of the choices that you are not making. There are various ways it can do this. One is to take an average of the choices that other writers have made, as represented by text found on the Internet; that average is equivalent to the least interesting choices possible, which is why A.I.-generated text is often really bland. Another is to instruct the program to engage in style mimicry, emulating the choices made by a specific writer, which produces a highly derivative story. In neither case is it creating interesting art.

As the linguist Emily M. Bender has noted, teachers don’t ask students to write essays because the world needs more student essays. The point of writing essays is to strengthen students’ critical-thinking skills; in the same way that lifting weights is useful no matter what sport an athlete plays, writing essays develops skills necessary for whatever job a college student will eventually get. Using ChatGPT to complete assignments is like bringing a forklift into the weight room; you will never improve your cognitive fitness that way.

from Ted Chiang’s Why A.I. Isn’t Going to Make Art

Learning from coincidence

Coincidentally, I was reading Terry Pratchett’s Color of Magic and Victor LaValle’s Lone Women at the same time. Central to the plot of both is a large piece of luggage. The characters’ attitude toward that luggage characterizes in both books. This reminded me of Alice LaPlante’s “Emptying Pockets” exercise from the making of a story and how some characters are associated quite closely with objects: Biblo/Frodo and the ring, Dorothy and the ruby red shoes, Cinderella and the glass slippers, Kane and Rosebud etc.

The objects characters choose to surround themselves with can let readers know about them. As a step toward characterization, then, consider these questions:

  1. What three things does your character carry with them? Why?
  2. Which thing, carried with them or not, is most important to the character? Why?
  3. How might the important thing/object function symbolically?
  4. What are differences between what it means to the character and what it means to readers?
  5. What does the object reveal about the larger setting of the story?
  6. To what degree is the object a character? How might it become more or less one?
  7. How aware is the character of their own attachment? How do they feel about their attachment?
  8. How hard would the character fight to keep the object if it were taken from them? Would they shrug, argue, scream, start a fist fight, call a lawyer?
  9. What event would lead the character to willfully give the object away?