Writing stories involves gauging what to show via scenes with more detail, and what to tell via a faster-moving summary.
–Derek Neale
Author: sdgibson
Learning from Huang
Consider this description of a writing process at ashmash.com:
The sensationalist way to describe my drafting process is:
- I don’t complete a first draft
- I never draft in order
- I never draft from outline
- My work constantly surprises me
- …And, yet, I never get writer’s block
Now that you’re solidly not on my side, here’s what this actually means.
I encourage you to read the entire post. Descriptions of writing processes always fascinate me. Huang writes well about hers and that leads me to reflect on mine. Trying to capture what we do as we write is good because self-reflection makes improvement more likely and the history or evolution of a process is interesting in itself (at least for me).
Is there a collection of writers’ descriptions of their process or processes? Something like Daily Rituals: How Artists Work edited by Mason Currey but more focused?
Learning from French
I like this quotation from Tana French’s In the Woods: “What I am telling you, before you begin my story, is this–two things: I crave truth. And I lie.”
This is an interesting character because, in part, he knows himself well enough to just state an internal tension. Other internal tensions that he might not be as aware of are certainly possible as are external tensions (he’s a police officer). I have not read the whole book yet, but it already suggests a way to complicate characters. The explicit can be as fascinating as the hidden.
from “On Not Kissing”
My mircofictions “On Not Kissing,” “On Not Kissing (Three)” and “On Not Kissing (Five)” can be found at wigleaf. I also have a postcard there.
Craft in a sentence (two)
Worldbuilding happens as readers watch characters interact with the world throughout the plot.
a paraphrase of Allison K Williams
Craft in a sentence (one)
Plot, in fact, is yearning challenged and thwarted.
–Robert Olen Butler
Interesting language 6
At high noon in a village deep in the marshes, in what seems to Fetter to be the uttermost depths of this wild valley, in a village of three faded-grey tents that doesn’t deserve the name–it has no sentry box and the bicycle ruts approaching it have almost faded away–set in a small area of cleared damp earth surrounded by writhing mangrove swamps on all sides, a familiar face finds him and asks for an exorcism.
The Saint of Bright Doors by Vajra Chandrasekera
Aesthetic bliss
Nabokov’s definition of aesthetic bliss: “a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm.”
Reading 2023
| 2023/12/29 | Ink Blood Sister Scribe | Emma Törzs |
| 2023/11/27 | The Seventh Bride | T. Kingfisher |
| 2023/11/23 | Dead Lions (Slough House, #2) | Mick Herron |
| 2023/11/05 | Lud-in-the-Mist | Hope Mirrlees |
| 2023/10/18 | The Girl with All the Gifts (The Girl With All the Gifts, #1) | M.R. Carey |
| 2023/10/11 | House of Hollow | Krystal Sutherland |
| 2023/09/28 | The Heaven & Earth Grocery Store | James McBride |
| 2023/09/16 | Thornhedge | T. Kingfisher |
| 2023/09/09 | When the Women Come Out to Dance | Elmore Leonard |
| 2023/09/07 | Beneath the Sugar Sky (Wayward Children, #3) | Seanan McGuire |
| 2023/09/02 | Rebecca | Daphne du Maurier |
| 2023/08/17 | The Color Purple | Alice Walker |
| 2023/08/06 | Cold Welcome (Vatta’s Peace, #1) | Elizabeth Moon |
| 2023/08/05 | Bark: Stories | Lorrie Moore |
| 2023/07/29 | The Shadow of the Wind (The Cemetery of Forgotten Books, #1) | Carlos Ruiz Zafón |
| 2023/07/13 | An Unkindness of Ghosts | Rivers Solomon |
| 2023/07/03 | Never Say You Can’t Survive: How to Get Through Hard Times by Making Up Stories | Charlie Jane Anders |
| 2023/07/02 | Tumbled Tales | Marisca Pichette |
| 2023/06/20 | To The Bright Edge of the World | Eowyn Ivey |
| 2023/06/07 | Dawn (Xenogenesis, #1) | Octavia E. Butler |
| 2023/06/02 | The Writer’s Notebook: Craft Essays from Tin House | Dorothy Allison |
| 2023/05/28 | Scorched Grace | Margot Douaihy |
| 2023/05/22 | Sea of Tranquility | Emily St. John Mandel |
| 2023/05/16 | Hench (Hench, #1) | Natalie Zina Walschots |
| 2023/05/16 | Slow Horses (Slough House, #1) | Mick Herron |
| 2023/05/02 | Falling Free (Vorkosigan Saga, #4) | Lois McMaster Bujold |
| 2023/04/27 | FLASH!: Writing the Very Short Story | John Dufresne |
| 2023/04/11 | The Stranger Diaries (Harbinder Kaur, #1) | Elly Griffiths |
| 2023/03/25 | I Capture the Castle | Dodie Smith |
| 2023/03/22 | Down Among the Sticks and Bones (Wayward Children, #2) | Seanan McGuire |
| 2023/03/14 | The Best American Short Stories 2020 | Curtis Sittenfeld |
| 2023/02/28 | Epic: Legends of Fantasy | John Joseph Adams |
| 2023/02/08 | The Brief Wondrous Life of Oscar Wao | Junot Díaz |
| 2023/01/23 | What Moves the Dead (Sworn Soldier, #1) | T. Kingfisher |
| 2023/01/11 | A Children’s Bible | Lydia Millet |
| 2023/01/03 | The Six Deaths of the Saint (Into Shadow, #3) | Alix E. Harrow |
Learning from Törzs
I’m still reading ink blood sister scribe, but I recommend it. Emma Törzs is a very good writer. So, naturally, we want to read her for lessons on writing good fiction. Consider this paragraph:
Joanna covered her face with one hand, her back rising and falling, but her other hand reached out and found Esther’s. Despite her grief for her father, despite her exhaustion, despite everything, Esther felt a profound sense of . . . what was it? Something expansive and dizzying, like lying on her back under a night sky sky so filled with ancient stars that she felt the thinness of her own life like a flickering candle beneath them. Awe. That after ten years, Joanna was still her sister.
Emma Törzs, ink blood sister scribe
Even without context (I want to avoid spoiling it for you) there are things to learn. The first sentence is objective and cinematic. Even an objective, cinematic sentence can convey complicated emotions. It does so through specific visual details. Readers know Joanna is feeling something powerful without having access to her inner life. And this is consistent with the point of view of the chapter because that point of view has been a limited third-person close to Esther.
The next sentence reminds readers that we’re seeing Joanna’s reaction from within Esther’s world. The first phrase, from “despite” to “everything,” could describe both women, but “Esther felt” controls the point of view, transitioning back to Esther and reminds readers which character’s inner life we do have access to, at least for this chapter. Esther can’t quiet describe what she’s feeling, which characterizes her. The nature of the metaphor she uses to try and understand her emotions matches what readers already know about her. It seems to be the kind of metaphor Esther would reach for. It is also very different than the kind of metaphor her sister would use. So, the metaphor strengthens readers understanding of the character as the character begins to understand herself. Knowing Joanna wouldn’t use a similar metaphor characterizes her. The sisters are together in a complicated moment but haven’t disappeared. Each remains themselves.
I highly recommend ink blood sister scribe.