Showing posts with label Little Women. Show all posts
Showing posts with label Little Women. Show all posts

Monday, July 4, 2011

Happy Holidays

Today is July 4th, Independence Day in the United States, and only a few days past Canada Day. Holidays are great opportunities to get some much-needed R & R or to spend time with our families, but I’d never really considered them as fertile ground for story until I attended a conference class on script writing.

Although the presenter at the conference had written scripts for Hollywood, script-writing was not the limit of her experience. She pointed out that holidays can add an important dynamic to a script, novel or play and can increase the story's longevity. For treatments in which the holiday is the backbone, the story cannot stand without it. Think "It's a Wonderful Life," Dickens' "A Christmas Carol," or "Holiday Inn" (which spun off 2 others: White Christmas & Easter Parade). We watch/read these and others like them every year which makes them lucrative. For many people, they become family traditions. Ray Bradbury's novel, "The Halloween Tree," is one such novel that follows a group of boys as they race through time to save a friend, all the while learning about the origins of the observance. Without Halloween, there is no story. Many popular authors write Christmas or Valentine's Day novels or novellas because they sell so well and make great gifts.

The presenter also challenged us to think of other stories that perhaps weren't so obviously about the holiday, but would be greatly impacted by its exclusion. "While You Were Sleeping" with Sandra Bullock was one of these. Setting the story around Christmas and New Years makes us sympathetic to the main character's loneliness and lends credibility to her motives. We especially want her to get both the guy AND his family because her loneliness is magnified by the holiday season. But the story is not so steeped in the holiday that you need to wait for Christmas to watch again.

Sometimes, rather than setting the story on a holiday, it's enough to include the holiday in a scene to show, for example, relational dynamics, the passage of time or a character's motives. In "Catch Me if You Can", Frank Abagnale calls Tom Hanks' FBI character on the phone on certain holidays which provides Hanks with some of the information he needs to finally catch him. (BTW, here is a very interesting disclaimer by Mr. Abagnale about the book and movie here.) There is also a pivotal scene in Anne Tyler's "The Accidental Tourist" set at Thanksgiving dinner which gives a revealing look into their family's dysfunction and manipulation. The Christmas scene in "Little Women" gives us a taste of Christmas during the Civil War and insight into the character of the young women. I included scenes involving the family at the holidays in "Tuesday Night at the Blue Moon" because holidays are highly significant and challenging after the the death of a loved one.

Have you incorporated any holidays in your writings, and what was the purpose? Can you add any books/movies/plays to the list and why do you think the holiday was included in them?

Monday, August 10, 2009

Fiction is Dusty Work

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The fact is that the materials of the fiction writer are the humblest. Fiction is about everything human and we are made of dust, and if you scorn getting yourself dusty than you shouldn't write fiction. It's not a grand enough job for you. -- Flannery O'Connor
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A lukewarm main character is incredibly dissatisfying. Life happens to them. They don't engage the menace. They stand back and wait to be rescued. I know this. I plot and develop characters with this in mind, and then, in the first draft, I invariably wimp out. My main character faces a milksoppy obstruction, not a knee-knocking malignancy.
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I honesty thought I'd written an engaged character in Lucy, the heroine of my WIP. She starts her quest with only modest equivocation and then spurs her "horse" onward.
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Then I took a long, hot shower. And, for me, there is no better place to discover the flaws of my writing. I'm too possessive of my words to delete them before my very eyes. Oh, the agony!
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Back to the story...Lucy faced a menace in my first draft--Is my ambiguity driving you nuts yet?--but her monster wasn't bloodthirsty enough. Losing the battle only meant a modest setback, not catastrophe. I had to up the stakes for her to truly reach hero status.
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But that meant getting really, really dusty--feeling revulsion, fear, helplessness.
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I rewrote the weak pages, and the story is stronger. I'm excited about returning to it, not only to fulfill my daily word count but to find out what happens to Lucy, to see what amazing things she'll do to overcome her nemesis--real or internal or both.
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I don't think Ms. O'Connor spoke exclusively for writers of fiction to portray the underbelly of humanity. She was speaking to authenticity, and authenticity has its transcendence too. I think of Alcott's Little Women. Their menace was the Civil War, the possible death of their father, and the loss of all they knew and held dear. And yet, they loved, forgave, and created. Louisa May Alcott got dusty.
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Having said that, let me acknowledge that the Christ follower has another layer of authenticity to portray--that which ought to be. What ought to be provides the best possible source for internal conflict, but our readers also want to see how this sense of "ought to be" plays out in the human experience.
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Pardon my meandering thoughts today. It's Sunday. Company's coming. I have no business trying to write a cohesive blog for such amazingly thoughtful readers as you. My apologies. Hopefully, I have given you some ideas to tickle your creative souls.
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Have you read something lately in which the author allowed him- or herself to get dusty? What hinders you from getting dusty? Is it harder to write underbelly or transcendence? How do you balance the "ought to be" in your fiction?