|Imagination and Creativity in Literary Stories: A Guide for Writers|
Sunday, August 2nd, 2015 at 3:33 am
Imagination used in creative storytelling is the essence of literary fiction. Memoir is remembering and describing factual events. Traditional imagined literary fiction is ignored today–mostly for financial reasons–by publishing, publicity, literary-agents, literary-prize choices, and inadequate teachers of creative writing resulting in blurred barriers between memoir and literary fiction. As a result, the quality of both memoir and literary fiction has deteriorated in artistic achievement, impact, and memorability. Great literature is a cornerstone of cultural advancement and contemporary authors have responsibility to society to learn and create literary fiction and memoir to the best of their ability.
It must be noted great memoir does employ creativity in the describing, in the presentation, and the prose manipulation. Literary fiction, however, uses imagination in creatively building characters uniquely related to the story being told and creatively integrating characters and plot with a structured story created with a purpose to engage, entertain, and enlighten a reader through imaginative artistic creation. Learning the skill of effective characterization is essential to lasting success for an author of literary fiction.
To create great characters that vitalize motives and desires in purposeful plotting, authors must create by:
1) structuring stories, whenever indicated, with beginning, middle, and end.
2) creating mystery and suspense to sustain reader engagement and enjoyment as essential to allow reader to see the world in new ways from reading the story.
3) engaging the reader with credible and acceptable character thoughts and reactions that relate to being human in addition to reflexively reacting to situations.
4) creating scenes through conflict, action and resolution (dramatic) that show characters’ essential qualities and relate to overall story-plot purpose.
5) instilling believable and consistently changing motivations.
6) identifying core desire(s) that drive a character’s action in the story.
7) using effective narration to show story to the reader through images, effective metaphor, tightly constructed plot progression, and character and story related action.
8) writing in-scene “showing” (concrete) in proper balance with narrator telling of story (often abstract). In-scene showing adds an aura of truth that story could happen in the world established by the author and allows a reader to become involved to discover meaning unique to them.
9) allowing only judicious use of fatalism in plot construction; instead, depending on revelations of human strengths and weaknesses in shaping lives to provide energy for story progression and resolution.
To create successful characters, authors must think before they write. Scenes within a story–and the story itself–are units composed of interrelated parts. It is not sufficient to start a story and see what happens word by word, scene by scene, without a thorough knowledge of the whole story. Many authors pride themselves in discovering story as they go along as allowing the creative process to flourish, but imagination deserves better application to literary storytelling. Authors must not default to writing that is quality-deficient by defaulting to unfocused hyperactivity in their writing and proudly rejecting the need for experience and training in writing and storytelling, an error that bathes an author in hubris about their own authorial value as a human being and their creative abilities. All that happens in a great literary story comes from an imagined structure and formulation of related ideas before writing. Of course, every writer’s efforts relate to who they are and what they know. But that knowledge is used to stimulate imaginative use for story purpose. And imaginative changes in great fictional stories occur with both writing and revision, and changes are perceived before change as affecting and improving the whole, not camouflaging an errant part of the writing or just filling story space with extraneous ideas and images thought to be clever intellectual output of the author but unrelated to story.
Study of artistic creation can clarify an author’s approach to creating quality fiction. Look to the visual arts. To create a great oil painting, an artist does not blindly retrieve colors from a palette obscured from vision then apply random brush strokes to any surface that is handy. An artist has to have purpose that translates to some idea of the final product and how to achieve the form and appearance of that structure.
Literary stories are like sculptures too. Consider how a Rodin-like sculpture might be made. To start, the sculptor has an idea of what is to be created—a nude male athlete, a woman holding her dying son, a lion. Sketches help adjust the overall early conceptualization of the final artistic product. A model is often constructed over a wire structural support and clay is added for form and detail and before drying, the model is molded, added to, or parts removed. Casts are made of the model. Bronze heated to liquid is poured into the casted mold, cooled to harden, and the mold removed to reveal the final sculpture that is refined with subtle smoothing and polishing. Not infrequently the result may not be right and the artist must start over again to avoid tinkering to make better a poorly conceived and executed project too impaired in the creation to reach required perfection.
This way of thinking is ubiquitous in artistic creation. Think of Michelangelo as an artist purchasing a block of Carrara marble. He did not awake one day, grab a hammer and chisel, sit down at the kitchen table while the kids were watching TV in the living room, and begin to chip away at the block to see what might emerge. He knew what he wanted . . . he had a plan. It’s sad that many writers force writing on schedules to fulfill their need to be a writer without a concept of a whole story, what the story is about, or why it is being written. These writers claim creativity is stifled by structure and imagined concepts but it is almost always a rationalization for their lack of ability.
Writing literary fiction of lasting quality needs the author to be aware of the creative process of accepted creators of art forms. Authors of fiction must hone the concept and purpose of story before writing begins; imagine what action will result in effective characterization, identify conflicts, mysteries, suspense; establish a timeline and prioritize story information in a logical and synergistic way.
In life, great architectural structures of beauty and usefulness are not accomplished by picking up random material and any tool available by the builders on their way to work that day. Why do most contemporary authors write driven by the will to succeed as a writer rather than creating works of literary art that will pleasurably affect other human beings with enjoyment and enlightenment? In reality, a rote process of ritual writing without purpose or destination, or without imagination or creativity, results in inferior artistic attempts. Art, including literary fiction, is not work for the artist but a proud accomplishment of imaginative achievement, and definitely not a random collection of disparate ideas and memories.
Writing literary fiction of lasting quality requires awareness of the process of imagination and structure. Authors of fiction must hone the concept and purpose of story before writing begins; imagine what action will result in effective characterization; identify conflicts, mysteries, and suspense; and establish a timeline and prioritize story information in a logical and synergistic way.