So, I’ve been reading Inviting the Wolf In: Thinking About Difficult Stories by Loren Niemi and Elizabeth Ellis, a book about writing difficult stories. In one of the last chapters, they discuss a story’s emotional arc story, but they mean something slightly different by that term.

Character’s Emotional Arc

Usually, I think of the emotional arc of a story as the main character’s emotional arc, how events impact the MC, where the MC starts emotionally and how the story’s events move them to a different place. In other words, it’s the arc of the MC’s internal conflict.

Reader’s Emotional Arc

Niemi and Ellis, though, are discussing the emotional arc of the audience, as they listen to or read the story. They make the point that this is a different thing. For example, if the MC is Hitler and he’s just learned that he’s successfully executed 1000 Jews, his emotions might be pleasure at his success. But the audience’s emotions will be horror at his callous attitude.

Of course, I’ve thought about and talked about this issue before: what do you want your readers to think or feel at this point in the story. But Niemi and Ellis brought it to the forefront and in the context of difficult stories, they say the audience’s emotional arc is very important.

Do you want to write about a teenager’s rape? Then, what do you want the audience to feel at that point? Outrage? Do you want them to walk through the actual feelings of the victim? For some audiences, that might work, but for middle grade kids, you probably don’t want them to feel the specifics of that event. What would be appropriate?

Shape the Reader’s Experience

I’ve no answers. It’s just that the intersection of audience and the emotional response you want the listener/reader to feel is an important issue. Especially when you write about a difficult topic for a young audience. You must shape the material to let the audience glimpse the emotional difficulties, yet not be overwhelmed by it. It’s a fine line to walk.

For eight years, I’ve taught the Novel Revision retreat across the nation. It was a hard decision to bring the course online because I wanted to make sure it had the same effectiveness. I found a software that I think will substitute for some of the face-to-face aspects of the retreat; for those who simply can’t travel to a retreat site, this is a great alternative.

ONLINE COURSE V. WEEKEND RETREAT

In contrast to the weekend retreat format, the online class offers these advantages:

• Working at your own pace
• more time to complete activities
• more time to think about activities
• Online forum
• more time to discuss concepts with Darcy and your group members
• Collaborative group project for each novel
• hard copy of critiques of your group members to help you target your revision efforts
• No travel required–Anyone, anywhere can take this course
• You just need internet access for the eight weeks of the course
• Easy to fit into your own schedule or circadian rhythms

What stays the same as the weekend retreat format:

Same workbook; same detailed, innovative activities.
Same group work. You work in groups of four, so you have three others who have read your entire manuscript and can comment on it in detail
Same goal: You will have a detailed revision plan for YOUR novel.

Read more about the Novel Revision Online Workshop.

If you know someone who would benefit from the retreat, please send them this posting throught the email link provided.

Do you have a difficult story you want to tell? You know–abuse, alcoholism, rape, etc. We all know good examples where these topics are handled well; but it’s hard to do. How to approach it?

Inviting the Wolf In

As I’m working on new stories this month, I’m casting a wider net in my reading and stopped by my local library to browse. And I found this book: Inviting the Wolf In: Thinking About Difficult Stories by Loren Niemi and Elizabeth Ellis.

The book is by two storytellers, published by August House (formerly of Little Rock!), who concentrates its publishing program within the storytelling community.

That’s OK. What Niemi and Ellis manage to do is give a storyteller/writer ways to approach difficult topics, specifically how to slant the story in different ways.

For example, one of their suggestions is to write a continuum of an emotional reaction over a lifetime.
So, you might fill in a chart like this for JEALOUSY:

Of course, you can modify to fit the needs of your story. Maybe each row is a day in the story, or a month in the life of a teen.

What it gives you is a possiblity of building the emotional arc with concrete images.

When Ellis did this, and journaled about jealousy, she came up with a story about her freshman year in college. Of course, there was the Perfect Girl: beautiful, smart, rich, gets the best guys, etc. Ellis turned green. And when Perfect Girl found herself pregnant, and had to drop out of school and get married (this dates Ellis, doesn’t it?), the Ellis went to every person in the dorm and casually told them about Perfect Girl’s problem. In confidence, of course, with the admonition not to tell anyone else.

Ellis admitted her guilt in the matter, and found a slant which she could tell–a way into story.

I’m finding this book helpful, as I think about what to write next.

This month, I’m working in a notebook more than ever before, just playing with ideas.

While I continue to work on Friday Ideas, I also bought a brand new Moleskin notebook and intend to play with ideas. For my new novel project, I want to attempt something new, different, big. I have some nebulous ideas, some bits of imagery, but no real characters yet, no plot, no theme. Just a title, or a series of titles for a trilogy. Well, I guess that means I’ve made one decision, to write something very long.

I’m taking random prompts from a couple books and scribbling away, always keeping in mind the title. But otherwise, letting words go where they will.

Here are a couple places I’m finding prompts:
Old Friend from Far Away: The Practice of Writing Memoir Dori Butler wrote about seeing Goldberg in Iowa, which prompted me to look at the book. I’m not a big Goldberg fan (I know–I’m the only one who doesn’t love Bones), but this looked intriguing. And I’m using some of her prompts.

At the same time, I’m also using To Be Told Workbook by Dan Allender, a Christian look at memoir. I enjoyed his book by the same title as a Christmas gift from my daughter now studying for her MA in Counseling. When I realized I wanted to explore new ideas by looking backward, I thought I’d pick up the workbook.

It’s an interesting juxtaposition of two books which ask you to write memoir type material. My purpose isn’t to write a memoir, but to dredge up images and ideas that I haven’t written about yet. At the least, it will be a playful notebook. Who knows what will come of it?

I’ve been thinking about the narrators chosen to read various books-on-tape . As I revise my current novel project, I wonder–
who be chosen to read my current WIP? I need suggestions!

The Voice Problem

One of my favorite fantasy titles is Lirael by Garth Nix, the the first book in the Abhorsen Trilogy.

This week, I listened to the audio version of Lirael, as read by Tim Curry. Curry has read about 77 other things listed on Amazon, including many of the Series of Unfortunate Events–Lemony Snickett.

I love Curry’s voice and his reading. But, I can’t imagine him reading my WIP. Wrong voice.

Suggest a Narrator

One thing that an editor said on a previous version of this story is that she wanted more of a regional flavor to the narrative voice. I’m trying to imagine listening to my story on a books-on-tape and can’t quite hear the voice.

This has a Texas/South/Southwest sort of flavor. It’s an animal fantasy, with a sort of epic feel. It doesn’t have to be a male voice, it could be female.

Who would you suggest as the narrator for such a story? Whose voice has a sort of epic quality, yet that Texas twang?

I wonder–if I had that voice firmly in mind (in ear?), would it help me find/explore/play with the story’s voice better? Any suggestions?

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As Always, It’s Easy to Stay Connected

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After eight years teaching the Novel Revision retreat across the nation, I’m pleased to announce that the workbook developed for that retreat will be available in one week!
You can now Pre-order on Amazon!

Details of the Online Class

In conjunction with the book, I am also announcing that I will be teaching this as an online class, limited to only four students per month. The first class starts in May. Sign up now!

Novel Metamorphosis: Uncommon Ways to Revise

• Foreword by Kirby Larson
• ISBN: 978-0-9798621-0-6
• Pub. Date: April 2, 2008
• Retail Price: $18.00
• Pages: 124
• Trim Size: 7.5 x 9.25
• Backmatter: Appendix, Index
• Mims House, publisher

Congratulations! You’ve finished a novel.

What an accomplishment! Now what?
Now, you need a passionate, in-depth guide to revision.

Why Revise?

Before revision: Nice Story
After revision: Richer, deeper–the novel of your dreams.

Novice or Seasoned

. . . For aspiring novelists, mid-list novelists who want to break out, novelists who want to self-publish–successfully, writers who have completed NaNoWriMo but don’t know what to do next, and writing critique groups looking for a way to help each other to the next level.

Revising has never been easier:

• Systematically inventory and diagnosis your manuscript
• Visually manipulate your manuscript to diagnose problems
• Transform dull characters into fascinating, memorable people
• Strengthen the narrative and emotional arcs
• Sharpen dialogue
• Morph dull settings into backdrops that set the mood
• Bring to life narrated events by selecting the right details
• Use language with confidence
• Add depth with narrative patterning
• In-depth professional development
• Plan your novel’s metamorphosis

The Results

A stronger, richer, deeper story, a story that makes readers weep and cry and turn the next page.

Revision Tools

Unlike most books on revision, Novel Metamorphosis turns theory into radical new tools which are practical, tangible, concrete.

• cut straight to the heart of your manuscript’s problem
• develop your writing and editing skills
• understand the critical underlying structure of your story
• learn theory as you work
• spark in-depth discussions in your critique group

Writing Teacher Darcy Pattison

In 1999, writer and writing teacher Darcy Pattison created the Novel Revision Retreat to meet the needs of struggling novelists. Since then, her passionate teaching has touched writers nationwide as she encouraged them, “I believe in your story.”

Back to Book Menu

I’m looking this week at some teacher resource books that suggest teachers photocopy texts for their students to study, in preparation for writing their own work. The Copyright Office offers help in sorting out the Fair Use in Circular 21: Reproduction of Copyrighted Works by Educators and Librarians. Please, if you plan to use texts to study in a classroom, read pp. 7-8, the “Agreement on Guidelines for Classroom Copying in Not-for-Profit Educational Institutions with Respect to Books and Periodicals.”

IN particular, if a teacher wants to make mulitple copies for a class to use in studying a topic, s/he should do the following:
Contact the copyright holder and ask permission to use the material in the classroom. In today’s world, you should at least try to email the copyright holder.

If the education project is urgent and there’s no time to ask permission, then Fair Use guidelines apply.

1. Brevity:
   • Text is limited to 1000 words or 10% of text; or limited to a single 2500 word article.
   • One poem may be used or an excerpt of not more than 250 words.
   • For picturebooks, it is limited to two published pages.
2. Spontaneity:
   “The inspiration and decision to use the work and the moment of its use for maximum teaching effectiveness are so close in time that it would be unreasonable to expect a timely reply to a request for permission.” (With email, I wonder if this test can really be met.)
3. Cumulative Effect:
   • Only used for one course per year.
   • No more than one short poem, article, story, essay, OR two excerpts from the same author during one class term.
   • No more than three copyings from the same collective work or periodical volume during one class term.
   • No more than 9 instances of multiply copyings per course per class term.
4. Other Prohibitions:
   • Copying is not a substitute for purchasing anthologies, compilations, etc.
   • No copying from consumable materials such as workbooks.
   • Copying is not a substitute for purchasing books; can’t be directed by a higher authority; be repeated with respect to the same item by the same teacher from term to term.
   • Students can’t be charged anything except for the cost of copying.

For any other particulars, please read the circular!

This is an attempt to summarize and organize the comments on my posting last week about voice. Thanks to these writers for making comments: Janni Simner, Joni Sensei, Sarah Miller, T.E. Wymer, Lori Van Hoesen, and Linda Urban. Apologies, if I’ve misconstrued anything. Read the full discussion.

Voice: A summary of comments

1. What is Voice?
   • Define. Definitions of voice are fuzzy.
   • Describe. It’s easier to describe voices, but not much easier:
     Use categories of personality (witty, reserved, observant), narrative tendency/style of speech (mimicry, colorful language, precise speech) .
     Stripped away prose–straight to the point, powerful sentences that create lasting images (ex. Kate DiCamillo in The Tiger Rising)
     Imagery driven with personification (ex. Lizzie Bright and the Buckminster Boy by Gary D. Schmidt)
   • Distinguish among. We distinguish narrative voice (for a certain piece) v. authorial voice (for a canon of writing)? (Does George Clooney always sound like George Clooney, or does he change with each character role?) (Or to reverse that, does Ebenezer Scrooge always sound like Ebenezer, regardless of the actor playing that role?)

     Narrative voice: word choice, attitude, tone, what the character notices, narrator’s voice.
     Authorial voice: transcendent. Complexity v. sparsity of prose, imagery, symbolism, challenge to the reader, provocativeness.

2. The Appeal of Voice
   Do certain voices have a universal subjective appeal? Why do some people like a voice, but others don’t like that voice?
3. Learning/Teaching Voice
   • Can narrative voice and authorial voices be taught?
     Some confidence that narrative voice can be taught (planned and structured), but some skepticism that authorial voice can be taught (gut issue: the best thing that most writers can do is get out of their own way). Structured/intuitive, craft/gut–back to this terminology again, but with the twist that some types of voice must be intuitive/are by nature intuitive and can’t be taught?
   • When, in the writing process do you begin to focus on voice?
     Lori uses the first few drafts to explore voice intuitively. In revisions, she focuses more on voice. Could that be reversed and a story begin with voice?
   • Practice and Play

     Write dialogue between vastly different characters: Ex. Biker chick, Pollyanna
     Do the same with a common topic: talk about how tired you are. Ex. of characters to use–single mother, 5 year-old child, 90 year-old man.
     Do Improv acting on that common topic from the differing POVs, then write again.

   • If you begin voice in a structured way, can it then become intuitive or more natural?
4. Special Problems
   • Multi-voice Project
   • Historical project (or ghostwriting) where you have diaries, letters, interviews, etc. and must recreate the voice found there.
   • First person projects–how to deal with the differences of narrative voice and authorial voice.

More concerns? More to think about?
I’ll be out for a day or two, but will summarize again when I get back.

This is an odd, busy month for me.

While Dori was riding around in a police car as part of a citizen’s police academy experience, I was watching a policeman enter my house with weapon drawn.

Got home Friday afternoon to find the back door had been forced open. I called the police and got out; because I had not been through the whole house, they went it to search and clear it before I went back in. Essentially, my son’s game system was stolen and nothing else. Probably a kid who had heard through the grapevine that he had a new system. Sigh. ARGH! Sigh.

The worst part is, well, there are two worst parts: first, my son took it personally and second, the door is incredibly hard to repair. It is old and the threshold needed to be replaced anyway, but not the wood above the door. It’s an old house, so kicking in the door skewed the frame and it was out of square. All in all, it’s a royal pain for my DH to repair.

Sure wish I’d been watching it like Dori, instead, of being on the calling end of that phone call.

Besides that–I”ll be in and out a lot for spring break, school visits, family stuff, etc. the next two weeks.

When you approach the topic of Voice of a novel and how to produce a pleasing Voice for fiction, especially as you revise, I think a helpful attitude is to think of the approaches as a continuum.

The Approach to Voice Continuum

The continuum runs from a Craft Approach (very left-brained, structured craft oriented skills that can be learned ) to an Emotional Approach (very right brained, dig deep into your soul and be yourself).

I’m trying very hard here to think of a name for the second approach that describes it in a fair manner: Gut Approach, Be Yourself Approach, Live Your Character Approach, Dig-Deep Approach. All of those sound faintly derogatory to me and I don’t mean that at all.

Likewise the first approach has equally dissatisfying monikers: Hack Approach, Formula Approach, Grammar-and-Editing Approach.

I don’t even like the right-brained, left-brained approaches, because those have unwelcome connotations, too. It’s just the continuum of ways you can approach Voice from structured to loose.

The problem is that when both extremes get criticism, there’s nothing left and voice becomes that nebulous thing that no one can talk about, they only recognize when they see it. And that isn’t helpful, because it gives writers no way in to make revisions. It gives us no tools, no strategies, no goals.

In other words, I’m going to teach about Voice and Scenes this fall and I need help in deciding how to discuss Voice. I’ve surveyed the land in front of me and see this continuum and how different teachers/writers might fall on that continuum. I just need ways to describe the continuum without choosing sides.

How would YOU describe the ends of the continuum? Which approach do you like? Any books to recommend on how to improve Voice (or Scenes), especially any that definitely take one approach or the other?