What would you do if you had a chance to, right now, start your life again? Article About Writing Better

William H. Coles

What have you achieved? Is it what you wanted? Are you satisfied? Here's the idea. On occasion, life forces new directions that demand a new “you.” How would you make a better "you"?  Take this example of a doctor at the top of his profession who loses all and changes who he is to survive. Literary fiction can show significant change by creating dramatic stories with theme and meaning. Here's an example of how. (Excerpt from the award-winning novel "McDowell." mcdowellbycoles.com)

Hiram McDowell is an arrogant, proud doctor. He's ignored and stomped on a lot of innocent people, failed to value friendships, and failed in love and family, but he's listed in the top two hundred of America's most influential people. Then he's accused of a felonious death, goes to prison, escapes, and survives as a criminal fugitive. Here's a glimpse of his new life–a desolate wilderness country-scene in a Montana farm house where a family with a disabled child has taken him in. The experience changes who he will become.

On a summer evening after dinner, Selena came out from her bedroom in an ankle-length white nightgown, barefoot, carrying a hand-blown glass bowl partially filled with water. She sat on a three-legged stool. Maud closed her book and laid it on the floor by the chair. “Pops,” she called to the kitchen. Pops came out and sat in a chair at the table. Selena’s freshly washed and dried long hair glowed with a youthful golden radiance. With slow deliberation, she dipped the fingers of her right hand in the water inside the transparent glass vessel on her lap and she began slowly circling the rim until a sound emerged, course and variable at first but with a quick adjustment, even and constant with a strange ethereal quality. She sang with a single tone in perfect pitch with the sound from the vessel, her voice was pure and full without vibrato. Then she progressed to intervals–a minor third, a sixth, a major seventh. She continued for fifteen minutes then unassumingly stood and went back to her room. No one spoke, struck by the beauty of the presentation. Maud sat with her head back, eyes closed. Pops remained at the table, his head in his hands.
        The next morning Hiram saw Maud reading and drinking from her ever-present cup of coffee.
        “That was beautiful singing . . . what Selena did last night,” he said. “She’s unique. I’ve never heard a voice like that. Her presentation was beautiful.”
        Maud said nothing.
        “She should sing out in public. Make a recording to sell. It’s really cheap to do.”
        “You’d see her doing night clubs. A celebrity?”
        “No. But she could entertain a lot of people and make money doing it.”
        “She used to sing at the church before it closed.”
        “She has a spiritual quality that shouldn't be limited to a church.”
        “What do you think she wants?” Maud asked.
        “I don’t think she knows her potential,” he said.
        “To do what?”
        “Produce and enjoy a valuable profession entertaining.”
        “And why would she do that?”
“To be successful.”

        “But what is this success? What do you think that means to her?”
         Hiram tried to block his rising frustration at Maud’s persistence in questioning the obvious. “I don’t know. Admiration for her talent. Financial independence.”
         Maud got up bringing her coffee cup and sat down at the table where Hiram was working.
        “You were pleased with what she did for you. She made you feel good.”
        “I was awestruck.”
        “She did it for you, you know. She likes you. And she wanted to give you something of value. Something without strings attached. Uniquely hers, too. She doesn’t think in terms of success and money. Subtle meanings, competition, maneuvering mean nothing to her.”

So what's happened? He's beginning to evolve from selfish to selfless, from taking to giving, from indifference to caring. As he makes a difference in the lives of others, he's rewarded with new satisfaction never before experienced.

This story is literary fiction–imagination, drama, in-scene delivery with strong characterization, themes and meanings, and a purpose for telling a story. Literary fiction enlightens readers with discoveries that may awaken self-awareness and human understanding.

You can READ MORE of McDowell’s narrow escapes and growing satisfaction with a new life he never would have anticipated. Available in print, eBook, online, audio. mcdowellbycoles.com

LEARN MORE about writing literary fiction:
http://www.storyinliteraryfiction.com/essays-on-writing/
McDowell by William H. Coles

Email This Post Email This Post RSS Feed



Lasting literary-story characters mature and blossom like a sturdy oak. How do you do that?

William H. Coles

Here's a two-sentence story to make a point about building characters when creating literary fiction.

Harry flew a kite at the beach to entertain his invalid son. But the kite got away and Harry seethed with anger.

Didn't grab you, I would presume. Let me tell it again, this time with emphasis on characterization entwined in IN-SCENE action.

A wind gust elevated the dragon kite and the string ran through Harry’s hand fast enough to hurt.
        “Let me do it, Daddy,” his son Raymond said as he limped to Harry’s side. The boy held out his hand that trembled without stop from a congenital palsy. Could he hold the string? Fly the kite? He wanted to so badly.
        “Hold it tight,” Harry said placing the string in the boy’s hand. The kite dipped then suddenly soared, the string taught again.
        “I dropped it,” the boy said crying. Harry reached out but the kite had ascended too far to reach the string.
        Harry cursed as the kite disappeared untethered, driven out to the sea by the off-shore wind.
        “I didn’t mean to,” the boy said, “Don’t hit me.”

In literary fiction, effective character development is essential and compliments plot movement.


Here's a snippet from another STORY that emphasizes characterization, "The Perennial Student." In essence, the narrative is more SHOWING than telling.  If an assistant professor is to advance to full professor, he must successfully discipline a student who dominates his creative-writing class with crude offensive writing and comments. Here's an abridged excerpt that exemplifies techniques of in-scene "showing" and character-specific DIALOGUE revealed in a new essay–Creating Quality Characters in Literary Fiction. www.storyinliteraryfiction.com/essays-on-writing/creating-quality-characters/

Possum waited inside the entrance hall of the ivy-coated building that housed the Departments of English and Computer Science when Denise entered through the left side of the twelve-foot oak doors. How innocent she looked.
        “Denise,” he called, “over here.” She squinted toward the sound of his voice.
        “Will?” she said. All his other students respectfully called him Mr. Possum.
        “Yes. Over here. Behind the statue. I need to talk to you.”
        He had practiced. Now was the moment he’d been dreading. He guided her to the quietest corner of the foyer. The hot summer air seemed to press them together.
        “Look, Denise. You have really made a contribution to the class.”
        “Oh, thank you,” she interrupted. “That’s so cool.”
        “Writing is sensitive business,” he started again.
        “Only when you let it all hang out.”
        “It’s not particularly an issue of hanging out.”
        “You got to tell it like it is. Tell the truth.”
        He tasted the first sourness of defeat. How could this mundane woman with her formidable convictions force him to feel so hopeless?
        “I did not mean that we should not tell the truth. It is a question of adjusting to the sensitivity of the writer.”
        “I know sensitivity. You teach us real good.” She smiled. “It’s all about no pain, no gain.”
        Was she mocking him with her stare of excessive interest? He worried someone might overhear. My God, how she made him flounder. “Each creative composition is so personal it makes a writer vulnerable,” he said.
        She nodded in full agreement.
        He decided to be direct. “I must ask you to be considerate of other class members in your comments.”
        She recoiled slightly, frowning. “Shutting me down?”
        “No. Not ‘shutting you down.’ Just soften your comments.”
        “It’s the men, isn’t?” she asked.
        Possum swallowed. “No. It’s not just the men!” Discrimination? Was she thinking of filing a complaint? His tongue stuck to the dry roof of his mouth.

Of course great literary stories are created by mostly educated writers with talent and will to succeed, but even more important is applying learned techniques of story creation and imaginative telling that provide engagement, entertainment, and enlightenment for the reader.

You can READ "The Perennial Student" (3489 words) or LISTEN (24 minutes) FREE here: www.storyinliteraryfiction.com/original-stories-william-h-coles/the-perennial-student/

The Perennial Student

Email This Post Email This Post RSS Feed



How do unsuccessful novel writers build houses? Editorial Opinion

William H. Coles

You get a backhoe and dig a BIG hole. You back up a cement truck and pour three BIG mounds of cement. While cement hardens, you cut down two giant oaks, strip the leaves and throw the trunks with limbs in the big hole on top of the cement. You pour, 100 gallons of glue, a quarter ton of bolts and nails, five porcelain toilets, and three bathtubs. You add 800 light bulbs of various sizes throughout the growing muddle. You mix three hundred gallons of paint in different, preferable incompatible (noncliché) colors, and splash the paint at random over all you’ve assembled. Let the mess simmer for five months during a horribly hot summer, if possible. Add 3800 roof tiles–no need to remove from the packaging. Voila! A house.

Whats the point? Authors of literary stories need to be in control of their thinking and their imagination and then create story by mastering the elements of fiction prose and storytelling. Here are three of the important ideas to conquer:

*Structure–beginning, middle, and end.
Writers need structure, an overall outline that directs happenings, action, emotional arcs, and prioritizes ideas and timing of information transfer. Literary stories have images and movement that are delivered logically structured on a timeline. Author ideas and thoughts generated by chance and randomly applied to story, no matter the quality of idea or thought, are not as effective as imagined elements structured into coherent, logical web the supports story momentum.

*Purpose.
Fiction writers need altruism and must: not write for fame and fortune, not write to be published to claim “author” at social gatherings, but write to engage, entertain, and enlighten readers by creating and telling a story well and building characters specific for story understanding and meaning.

*Creativity and imagination.
Writers need to imagine and create, not remember and describe. Imagination for fiction does not come from sitting alone in a dark, sound proof, unheated room until memories emerge from author life experiences like sea creatures from a peat bog. In fiction, scenes are imagined that move the plot, build characters consistent with the timeline, and relate to purpose and theme of the story. Authors who default to their own worldview and life experiences often fail to reach advantages of imagined fiction available to the world beyond self.

*”The Miracle of Madame Villard” is the story of a boy on a mission to find a cure for his dying mother. Set in the 18th century France, the story and all elements of story are imagined. You can read it online free.
http://www.storyinliteraryfiction.com/original-stories-william-h-coles/the-miracle-of-madame-villard/
The Miracle of Madame Villard


If you find these ideas ring true, WOULD YOU SHARE THIS POST? LITERARY (character-based dramatic plots, theme and meaning, unique characterization) FICTION (imagined) needs writers who train in traditional successful literary techniques. I’m trying to spread the word.

You could SHARE THIS LINK too for original story examples, essays, interviews, a workshop, and illustrations. storyiniteraryfiction.com. (free)
And thanks.

Email This Post Email This Post

Tags: , , , , , , ,

RSS Feed



Ferreting out MacGuffins in a literary-fiction story Article About Writing Better

William H. Coles

This down and out musician has broken up with his girl in New Orleans so he pockets his blues harmonica, drags his guitar behind him, and plods on the road to Yazoo City, Mississippi, to find a gig. He’s miles away on a back road in a poverty-infested rural countryside when a girl about seven appears and offers him a wad of chewing gum she takes from her mouth with thumb and forefinger. He politely declines but to respond to her generosity, he plays a tune, Empty Bed Blues, on his harmonica. She’s unimpressed. During a doze, the girl grabs his harmonica and runs off. He follows her into a ramshackle two-room paint-peeling-gray clapboard-house where her mother lies on her back on a bare mattress, both legs bent at the knees, her bloated abdomen contracting and showing a matted-hair football-shaped blob with each labor contraction. Damn, it’s about to arrive. Our hero has never seen a baby come out.

Wikipedia tells us: “In fiction a MACGUFFIN (sometimes McGuffin or maguffin) is a plot device in the form of some goal, desired object, or other motivator that the protagonist pursues, often with little or no narrative explanation. The specific nature of a MacGuffin is typically unimportant to the overall plot. The most common type of MacGuffin is a person, place, or thing (such as money or an object of value). Other more abstract types include victory, glory, survival, power, love, or some unexplained driving force.”

“The MacGuffin technique is common in films, especially thrillers. Usually the MacGuffin is the central focus of the film in the first act, and thereafter declines in importance. It may reappear at the climax of the story but sometimes is actually forgotten . . .”

Okay. Thanks Wikipedia. In our story, the harmonica is a plot device, a MacGuffin. But fiction writers crave significance. So how does a plot device become a symbol? Let’s look to Wiki again; now things get a little wonky: “SYMBOLS are the basis of all human understanding and serve as vehicles of conception for all human knowledge. Symbols facilitate understanding of the world in which we live, thus serving as the grounds upon which we make judgments. In this way, people use symbols . . . to make sense of the world around them . . .” Okay Wiki. Symbols impart meaning about people and the world. Let’s explore more.

Two older couples are on tour in India, one married, the other in a relationship. The married woman wears an extravagant diamond necklace inappropriate on a tour through a poverty-stricken country, a symbol of an arrogant man’s wealth and status and his domination of a submissive woman who detests wearing the necklace in public. The necklace is stolen and the woman dies from an illness contracted from the thieves. For the rest of the trip, the in-a-relationship couple grieve for their friend and the woman works tirelessly to relieve the suffering of the destitute poor. The man admires the decent nobility and gracious compassion of his partner and near the end of the tour he buys an inexpensive jade necklace to commit to the marriage the woman desires as the ultimate expression of his love and esteem. Two necklaces acting as different symbols both driving plot.

MacGuffins and symbols are both useful in literary fiction storytelling but rarely are they the purpose for the story; instead, they are discovered, defined, and refined in late stages of revision.

You can READ both “ON THE ROAD TO YAZOO CITY” and “THE NECKLACE” online FREE or in print (also in audio free) with these links:
On The Road to City
The Necklace

Guy de Maupassant and Henry James are two (of many) who have used a necklace as symbol in fiction. Read an ANALYTIC COMPARISON of de Maupassant and Coles stories here: https://www.enotes.com/homework-help/compare-contrast-necklace-coles-maupassant-617243

The Necklace

Email This Post Email This Post RSS Feed



Finding theme in literary stories Article About Writing Better

William H. Coles

Big Gene

“Big Gene” is a story of an African American piano player who changes hatred and bigotry with friendship. How can a story convey impact of such action, action based on the teaching of Martin Luther King? Fiction, structure, drama, purpose, and meaning. Here are excerpts that demonstrate story progression in in-scene storytelling. You can READ FREE OR LISTEN FREE to the story HERE:
http://www.storyinliteraryfiction.com/
original-stories-william-h-coles/big-gene/


THE PROTAGONIST.

Big Gene had no love for country music. For him it was like chopping firewood. And he didn’t like playing for angry whites. He liked the white guys in the band who cared more about work and family than race, but they were different from the clientele at this all-white truck stop who seemed deprived of everything and angry at all they’d been denied.

THE CONFLICT.

“I mean it, boy. You great,” the man said with an edgy smile to Big Gene.

“You ought to learn ‘Great Balls of Fire.’ I was telling the man here. You flat ass sound like Jerry Lee Lewis.”

Big Gene waited; the leathery man stared. “Mr. Lewis learned from us coloreds,” Big Gene said.

“You’re kidding me.” The man looked genuinely surprised.

“Yes sir. Mr. Lewis learned from some of the greats, like we all do.”

“I’ll be damned.”

“Yes, sir. It’s the God’s truth,” Big Gene said smiling.

As Big Gene climbed back on stage. The band leader Sid whispered to him, “What was that all about?”

“That redneck thought I took my playing from Jerry Lee Lewis. I was correcting his misconceptions.”

“I’m surprised he didn’t shoot you.”

“I was a little shocked too,” Big Gene said, grinning.

OBSTRUCTION (one of many): failure to appreciate the value of nonviolence.

Two days later in the morning before Cloretta went to school, she held up the Sunday paper with picture of Big Gene shaking hands with the man in the blue suit. The caption read: "Klan Reaches Out."

“It’s not right,” Cloretta said.

“He doesn’t look dangerous,” Big Gene said, and smiled.

Cloretta frowned. You shouldn’t be shaking his hand. You shoulda whooped his butt. That was the man you used to be.”

If you have time, read the story and share your thoughts. How would you write this story? How would you handle this content?

Theme: nonviolence seeks to defeat injustice and chooses love instead of hate.

Meet the MAN WHO INSPIRED THE STORY “Big Gene.” DARYL DAVIS. Learn more here. http://www.daryldavis.com/
fb-hands-on-piano

Email This Post Email This Post

Tags: , , , , , , , , ,

RSS Feed



Excessive Pride and Self-Confidence as Motive in Storytelling: Characterization and Plot Example Article About Writing Better

William H. Coles

An example of excessive pride and self-confidence in story excerpt from "Nemesis".
___________
After he was fired from his job as audiovisual technician, Fred demanded early retirement, threatening to sue, and received forty-percent of his salary. A pittance of what I’m worth, he thought. Fred’s dismissal humiliated his wife Veronica. “Get a job,” she said, irritated to have him perpetually at home.

“I think I’ll start writing a syndicated column for the newspaper,” Fred said, emboldened by his recently acquired disgust–through his intent viewing of TV extremist news–of how seriously deficient America had become.

“You’re lazy,” Veronica said.

“Lazy people do not reach my levels of success,” he said.

Veronica was thin and had a nervous tick that shut her left eye making her right eye widen and exposing the white of the globe as if in unilateral fright. She would leave Fred after twelve loveless years. “You’re a jackass,” she said.

“Don’t be your unreasonable self, Veronica. It only demeans you.”

“A halfwit,” she said.

“Now it’s name calling, is it?” Fred said.

“It’s not a name. I’m not addressing you. I’m telling what everyone knows. You're an incompetent, unemployed, self-absorbed, idiot–the only human in existence who has pride in his failures. And I hate you.”

In an instant Fred assessed the entire scene as some hormonally induced, paper-lantern feminine crisis not worthy of his attention. She’d come around. She always did.
____________
This excerpt is from the short story “Nemesis” about an arrogant man with excessive pride (hubris), failure to heed warnings, unshakeable belief in being right, inconsiderate of others’ views, and stubbornly ignorant of knowledge, who causes the death of the only love of his life. You can READ [5085 words] or LISTEN TO [34 minutes] the story here: http://www.storyinliteraryfiction.com/original-stories-william-h-coles/nemesis/

The Greeks knew excessive pride and self-confidence invited destruction (hubris–>nemesis). For the writer of stories, hubris is a human trait that can vitalize plot development and characterization. Look at these examples of hubris inviting destruction:

1. A famous athlete has extramarital affairs and said he thought that normal rules did not apply to him and that his excellence in his sport entitled him to whatever he wanted with no consequences. He lost respect of family, fans and sponsors and his career is ruined..

2. A president believes his status makes him invincible until his involvement in the illegal breaking and entering scandal forces his resignation.

And you might also enjoy these classical literature examples of pride and downfall: Oedipus Rex, All the King’s Men, Frankenstein.

The award winning novel McDowell incorporates full use of hubris that results in destruction of a famous doctor's career and freedom. He becomes a hunted convict that ironically allows new opportunity to regain some value to his life with unselfish caring for others. It’s a prime example of hubris and nemesis followed by a rebirth. It’s a good read. Available in all formats including audio.

Email This Post Email This Post

Tags: , , , , , , , , , , , , , , , , , , ,

RSS Feed



Seven elements for writing fiction stories Article About Writing Better

William H. Coles

For writers striving to improve the creation of fictional stories in prose, here are seven essential elements in creating stories.

The elements: Prose, Characterization, Plot, Narration, Setting, Imagery, Meaning/purpose.

Prose relates to diction, syntax, and voice. The intense poetic elements of lyric prose can be used to pleasing effects for a reader both as a secondary and prime element. For memorable stories, most readers prefer a distinct, often authoritative voice, for narrator and characters.

Characterization (creation of a fictional character) is most effective when developed by in scene action predominating over discursive narrative telling and when excellence of other elements is achieved: dialogue, narration, internalization, and voice.

Plot is all that happens in a story and is almost always dependent on a beginning, middle, and end and thrives of tried and true characteristics: character-based; momentum on reversals and recognition, mystery and suspense; and often linear, interwoven with emotional, character, and story arcs. Great plots provide conflicts early, both in story and among characters.

Narration is storytelling. Characters act out in fiction stories, narrators tell story, and authors create story with imagination and uniqueness. Point of view choice is tailored to the needs of story. Each point of view has advantages and disadvantages and must conform to reasonable story-related credibility and reliability, and adjust to requirements of suspension of disbelief. Authorial control of the narration through the narrator must be consistent in style, transparent (almost always no authorial intrusion), carefully chosen for story understanding and purpose, and meticulously crafted.

Setting orients the reader to time, place, and physical and psychic distance from story action, environment, and obstacles to plot progression. Most stories provide settings through subtle integration in other elements avoiding extensive description. Other stories rely on the poetry of beautiful settings for maximum reader pleasure.

Imagery relies on imaginative prose with innovative yet absolutely accurate word choice within the boundaries set up by story development. Momentum in the writing with image-inducing prose should be pervasive to prevent reader disinterest.

Theme/purpose. Every story should engage a reader, entertain the reader, please the reader, and provide recognition or enlightenment (theme/meaning) so the reader will never see the world again exactly the way they did before the story was read. Fiction stories are not character sketches, memoir, biography, or journalism with untruths. And every story has to have more than an authorial catharsis describing authorial lives and events. Fiction is art that emerges from imagination and is created with skill and structure.

References:

Preparing to Write the Great Literary Story

Literary Fictional Story

Character in Literary Fictional Story

Email This Post Email This Post

Tags: , , , , , , , , , , , , ,

RSS Feed



The Seven Fundamentals for Writing Fiction Stories Article About Writing Better

William H. Coles

There are many ways to think about the great writing of great fictional stories. Both readers and writers can benefit by learning seven elements and appreciating the interaction of these elements in an individual story. For the reader, appreciation of authorial skills can be more easily enjoyed and admired, and for writers, learning to determine their strengths and weakness in the creation of the different elements can be valuable to balance story for an effective presentation.

Prose
Characterization
Plot
Narration (POV)
Setting
Imagery
Meaning/purpose

Prose relates to diction, syntax, and voice. Lyric prose with intense poetic elements can be used to pleasing effects for a reader both as a secondary and prime element. Most readers prefer a distinct, often authoritative voice for narrator and characters.

Characterization is a key element for a literary story and is often most effective by in scene action predominating over discursive narrative telling. It’s importance in story development in the great stories is unique and individual and requires talent and practice. Dialogue, narrative, internalization, flashback, diction, memory, voice are opportunities for character development in effective ways different, and at times superior, to characterization in film or in drama. Almost without exception, great stories

Plot is all that happens in a story. For great stories plot is almost always structured with a beginning, middle, and end; frequently is character-based; depends for momentum on reversals and recognition, mystery and suspense; is primarily linear, and is interwoven with emotional, character, and story arcs. Great plots provide conflicts early, both in story and among characters.

Narration is storytelling. Characters act out in fiction stories, narrators tell story, and authors create story with imagination and uniqueness. Point-of-view choice is tailored to the needs of story. Each point of view has advantages and disadvantages and must conform to reasonable story-related credibility and reliability reliability, and adjust to requirements of suspension of disbelief. Authorial control of the narration through the narrator must be consistent in style, transparent (no authorial intrusion), carefully chosen for story understanding and purpose,, and meticulously crafted.

Setting orients the reader to time, place, and physical and psychic distance from story action, environment, and obstacles to plot progression. Most stories provide settings through subtle integration in other elements avoiding extensive description. Yet, some stories rely on the poetry of beautiful settings.

Imagery relies on imaginative prose with innovative yet absolutely accurate word choice within the boundaries set up by story development. Momentum in the writing with image-inducing prose should be pervasive to avoid loss of engagement of the reader.

Theme/purpose.
Every story should engage a reader, entertain the reader, please the reader, and provide recognition or enlightenment (theme/meaning) so the readers will never see the world again exactly the way they did before the story was read. Fiction stories are not character sketches, memoir, biography, or journalism with untruths. And every story has to have more than an authorial catharsis describing authorial lives and events with description without imagination and discursive rumination of authorial thoughts and opinions. Fiction is art that emerges from imagination and is created with skill,  structure, and revision.

Email This Post Email This Post

Tags: , , , , , , , , , , , , , ,

RSS Feed



Creating Scenes in Fiction: An Example Using an Historic Photo Article About Writing Better

William H. Coles

Lynching

One of the many great paradoxes in writing fiction well is that dramatized in scene fiction can evoke reader involvement and emotions better than narrative telling. The photo of a lynching of two blacks in the south in the 1930's is appalling. For a fiction writer, such an image hides strong human emotions; how does a writer capture feelings and create a significant reader reaction through prose fiction?

A fiction writer has the opportunity in such a scene to create in a reader a multidimensional sense of what might have been the living thoughts and emotions at the moment.   Then, by objective fiction in scene fiction void of abstractions, explain by showing the attitudes and feelings of the moment. It's translating the feelings that we think occurred almost eighty years ago.

An inexperienced writer might start a description of the scene like this: The humid air seemed balmy, and heavy with weight of the moment. The crowd stared as the two corpses swayed slightly, twisting this way and that. Blood came from the mouth of one. The other head had bulging eyes, as if diseased and now bloated. The stench of excrement drifted over the people, a horrible reminder of death's lack of tact.

This is from the narrator's perspective. In the description are a number of opinions and judgments: balmy, stench.  And there is a cliché–weight of the moment–that might be too abstract to be effective. The horror, the injustice, the cruelty is beginning to show through.  But the people in the picture are happy, festive, apathetic. Their inexplicable response to the murders is  what makes this photo so horrific.  And there's a lot going on. The brutal killings have occurred by summary justice, but the atmosphere is festive, there is an almost in-your-face joy at "right" being done, and there is the apathy for lives lost and a blatant lack of respect. The woman looks surprised at the camera flash but there is no fear, no sorrow, no horror.  And she's in a Sunday-go-meeting dress. She's holding her husband's hand but it doesn't seem for moral support, more to keep from getting separated maybe. One wonders if the photographer, with artistic acumen, felt the need to capture these contradictory feelings–the dichotomy of the crowd's emotional response contrasting to what the reality of the scene embodied–outrage at the injustices racial hatred would invoke in another crowd at a different time. Or maybe even more revealing, the photo was accidental, which make the journalistic reporting insensitive.

Here's a try with narrator writing in point of view of the woman character in the dark polka-dot dress on the left holding the hand of the man. The flash of the camera surprised her. The lens was pointed at her and the crowd, not at the Negroes twisting at the end of their ropes and suspended from the limb of Reverend Callahan's giant oak, the playground for children for decades. Dexter's dry scratchy hand held hers loosely, he was curious and smiling at the camera with all of them. A man near them swigged boubon from a silver flask. She refused when offered a sip, upset he didn't respect her as a lady, but Dexter took a big swallow. The negroes weren't local she'd heard, didn't know their ways. Smart talking they were too, rude to Maud Richards, as if she weren't white. She thought the photographer might take another picture and she dropped Dexter's hand to find her lipstick in the pocket of her dress. It was a shade of red she'd just bought from the catalogue because Ethel had started wearing her shade, (and not to Ethel's advantage she might point out). Some Negroes over near the hitching posts a might far from them but still close enough that that Negro-moan-singing came to them: "Just a closer walk with thee." Happy she was to see the sheriff and his deputy shut them up and send them away. Serve 'em right. Yes, sir. The will of God prevails.

The idea in this segment is try to paint the horror of the crowd festive attitude, and apathy to the dead as well as the indifference of the law, as opposed to simply describing the look of the corpses and the expected outrage the narrator feels at a double murder for incomprehensible, illegitimate reasons. The key, I think, is to find then imagine the bizarre emotions and gaiety of the crowd in the presence of two lynched humans. The reaction seems, after all, an insult to the crime itself–perfect for the fiction writer to create meaningful literature.  It helps when creating a scene to look for dichotomy, a conflict, an incongruity, to bring the reader into the scene with not only more intensity, but augmented emotional involvement.

If you're writer, you can learn to make choices that will make your stories engaging and meaningful to readers. Fiction is a rewarding accomplishment for a writer, well worth the study and practice. A start might be this new manual: Creating Literary Stories: A Guide for Fiction Writers. An inexpensive gift available in digital and print formats for yourself, a loved one, a writer yearning to write fiction, or any one you care about.

Creating Literary Stories

 

 

Email This Post Email This Post

Tags: , , , , , , ,

RSS Feed



Why is narration perspective important? Isn't understanding point of view sufficient? Article About Writing Better

William H. Coles

Great memorable fiction stories that pass to future generations for learning and enjoyment are quite rare, and the authors who create such stories have unique and varied attributes as writers. What separates the great fiction writer/storytellers? One trait seems to drive great writers to create great stories of significance and sustainability. Look to Austen, Homer, Forster, Conrad, Flaubert, Chekhov, De Maupassant, Babel, Melville, Hawthorne, Munro. The great storytellers, with few exceptions, wrote selflessly to engage and entertain a reader and the quality of the story produced significant enlightenment about living and being human.

Lesser writers seem intent on fame and fortune and the seriously mistaken belief that to be great, instinctively writing solely for the catharsis, aggrandizement, and ego of the author is sufficient. These writers create literature-of-self that often ignores the in-depth understanding of humanity; broad objective incorporation of the world outside an author’s worldview; a respect for a reader’s gracious exertion in reading by striving to entertain the reader; and striving to provide new thoughts about human existence in the world we live in.

Memoir, autobiography, authorial dominated “fiction,” and creative non-fiction all have contributions to literature, but the imaginative created literary fictional story reaches unique excellence in significant storytelling. Understanding the complexities of narration and developing narrative skills by learning and practice are an important start on the path to great fictional storytelling.

Readers benefit from knowing what is true, credible, and reliable in the story world. Narrative perspective guides the reader’s understanding and emotional acceptance, and involvement in the literary story, and allows eventual comparison and application to the reader’s real word existence.

Email This Post Email This Post

Tags: , , , , , , , , , , ,

RSS Feed




Facebooktwitterlinkedinyoutube
Visit main site
  Story in
Literary Fiction
Learn the art of writing great literary fiction:
Newsletter published every other week
New: Graphic Novels

Graphic novels: Homunculus and Reddog
New Novel
McDowell
McDowell by William H. Coles Read a free sample!
Available in print and
eBook at:
Amazon,
(Kindle),
Barnes & Noble,
Authorhouse,
Smashwords
and select bookstores!
Search

Free iPad App, Short Stories by WH Coles

Story in Literary Fiction Art Gallery

 

178608
15496