“The Gift” has been published by Hoot Online.
Author: sdgibson
“In the Path of Totality”
You might like “In the Path of Totality” at Fractured Lit. It was one of 15 finalists for the Fractured Lit OPEN Prize.
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.
Forget inspiration
First, forget inspiration. Habit is more dependable. Habit will sustain you whether you’re inspired or not. Habit will help you finish and polish your stories.
-Octavia Butler
Reading 2024
| The Consuming Fire (The Interdependency, #2) | John Scalzi | 2024/12/23 |
| The Circle That Fits | Kevin Lichty | 2024/12/16 |
| The Vegetarian | Han Kang | 2024/12/11 |
| The Collapsing Empire (The Interdependency, #1) | John Scalzi | 2024/12/04 |
| When We Cease to Understand the World | Benjamín Labatut | 2024/12/04 |
| After World | Debbie Urbanski | 2024/11/26 |
| The Mighty Red | Louise Erdrich | 2024/11/24 |
| A Sorceress Comes to Call | T. Kingfisher | 2024/11/03 |
| My Very End of the Universe: Five Novellas-in-Flash and a Study of the Form | Chris Bower | 2024/11/03 |
| Creation Lake | Rachel Kushner | 2024/10/27 |
| Buried Treasures: Reading the Book of Mormon Again for the First Time | Michael Austin | 2024/10/20 |
| Last Argument of Kings (The First Law, #3) | Joe Abercrombie | 2024/10/12 |
| I Am Homeless If This Is Not My Home | Lorrie Moore | 2024/10/03 |
| Before They Are Hanged (The First Law, #2) | Joe Abercrombie | 2024/09/29 |
| The Blade Itself (The First Law, #1) | Joe Abercrombie | 2024/09/21 |
| Wife with Knife | Molly Giles | 2024/09/07 |
| Dear Committee Members | Julie Schumacher | 2024/09/06 |
| The Art of Brevity: Crafting the Very Short Story | Grant Faulkner | 2024/09/05 |
| State of Paradise | Laura van den Berg | 2024/08/13 |
| Titanium Noir (Titanium Noir #1) | Nick Harkaway | 2024/08/08 |
| Creative Writing: A Workbook with Readings | Jane Yeh | 2024/08/07 |
| Jonathan Abernathy You Are Kind | Molly McGhee | 2024/08/01 |
| Orbital | Samantha Harvey | 2024/07/24 |
| Lone Women | Victor LaValle | 2024/07/20 |
| The Color of Magic (Discworld, #1; Rincewind, #1) | Terry Pratchett | 2024/07/12 |
| This Year You Write Your Novel | Walter Mosley | 2024/07/12 |
| Flash Fiction America: 73 Very Short Stories | James Thomas | 2024/07/08 |
| Chain-Gang All-Stars | Nana Kwame Adjei-Brenyah | 2024/07/02 |
| The Book of Love | Kelly Link | 2024/06/28 |
| Trust | Hernan Diaz | 2024/06/11 |
| Legends & Lattes (Legends & Lattes, #1) | Travis Baldree | 2024/05/28 |
| Dead Silence | S.A. Barnes | 2024/05/24 |
| Dinosaurs | Lydia Millet | 2024/05/18 |
| Cut and Thirst | Margaret Atwood | 2024/05/14 |
| The Mountain in the Sea | Ray Nayler | 2024/05/11 |
| City of Last Chances (The Tyrant Philosophers, #1) | Adrian Tchaikovsky | 2024/05/10 |
| Monstrilio | Gerardo Sámano Córdova | 2024/05/04 |
| James | Percival Everett | 2024/04/26 |
| The Candy House | Jennifer Egan | 2024/03/29 |
| Emily Wilde’s Encyclopaedia of Faeries (Emily Wilde, #1) | Heather Fawcett | 2024/03/14 |
| System Collapse (The Murderbot Diaries, #7) | Martha Wells | 2024/03/05 |
| Mermaids in Paradise | Lydia Millet | 2024/03/04 |
| The Vaster Wilds | Lauren Groff | 2024/02/29 |
| A Psalm for the Wild-Built (Monk & Robot, #1) | Becky Chambers | 2024/02/18 |
| The Saint of Bright Doors | Vajra Chandrasekera | 2024/02/13 |
| The Thursday Murder Club (Thursday Murder Club, #1) | Richard Osman | 2024/02/02 |
| Prophet Song | Paul Lynch | 2024/01/23 |
| Coda, Vol. 1 | Simon Spurrier | 2024/01/12 |
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.
Craft in a sentence (seven)
An art may be of value purely through preventing a society from becoming too assertively, too hopelessly, itself. –Kenneth Burke
Craft in a sentence (six)
For me, meaning arrives almost unbidden from an accumulation of specific details.
Ted Kooser
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:
- What three things does your character carry with them? Why?
- Which thing, carried with them or not, is most important to the character? Why?
- How might the important thing/object function symbolically?
- What are differences between what it means to the character and what it means to readers?
- What does the object reveal about the larger setting of the story?
- To what degree is the object a character? How might it become more or less one?
- How aware is the character of their own attachment? How do they feel about their attachment?
- 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?
- What event would lead the character to willfully give the object away?