|Effect of Discursive Narration on Literary Story|
Sunday, November 30th, 2014 at 3:00 pm
Narration of literary fictional stories today allows wide latitude for authors on technique and style. Traditional, successful, memorable, literary stories depend on strong imaginative characterization, dramatic plots with conflict and resolution, and identifiable purpose for the story being told so some enlightenment occurs about the human condition gleaned from the story presentation. In the past, stories were structured for momentum and engagement, and there was careful attention to story logic and credibility for the story world created. Authors wanted to please readers. Prose was dedicated to accurate use of the language, attention to the advantages of correct grammar within story context, and readability with acceptable punctuation and rhythmic flow. But this storytelling has faded.
Contemporary writers have little or no conscience to follow traditions in literary storytelling. Stories with beginnings, middles, and ends are becoming less common and fiction has shifted to memoir about authorial self with a few falsehoods to be called fiction, simple character sketches, or description of events-happened with journalistic rigor void of imaginative influence. Authors reject dramatic conflict at all levels of story delivery for character development and story pleasing plotting. And even in fiction, the author often dominates the storytelling with subjective intrusion rather than using an objective narrator or character delivering balanced credible story and character detail in dramatic scenes. Descriptions of people or events that happened does not produce the same effects on readers as creative imaginative storytelling that engages, stimulates, enlightens, moves, and entertains.
Contemporary writers commonly default to discursive rumination for the major portion of “story” delivery, a technique that may divert attention, meaning, momentum, or understanding of authorial purpose for the story. And when using discursive rumination, authors will often abandon story to soliloquize, seek authorial catharsis, or proselytize.
Modern writers often restrict storytelling to first person point of view and narration. This places limits on internalization, credibility, veracity, size and quality of world view available to the narrator, and expansive imaginative writing. Not all stories are suited to first person narration, and the quality of fiction published and available to read has dwindled.
The message is not trivial. Many contemporary readers enjoy modern “literary” writing dependent on discursive rumination, but the true value of literary story development with imaginative structure and characterization is often lost. The writers careful to avoid obvious authorial dominance and intrusion in the storytelling add imaginative and meaningful enhancement to their work that authorial dominance and intrusion does not allow. Of course, authors are always present in some way in a literary work of fiction, but the most effective authorial presence is transparent, like a hint of mint in a pitcher of tea, the touch of orange/red diffusing through the blue sky above the horizon just before sunrise, the sound of an individual cello in full orchestra . . . sensations present and enjoyed and always gently and uniquely pervasive . . . but never rife.
Readers preferring traditional storytelling seem to reread the classics today. Traditional literary fiction is being written, but it is rarely accepted by agents, editors, and publishers; as a result, great stories in the traditional sense are not available and as a culture, we are losing an art form, a loss that diminishes the creative heritage of our generation.
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