TECH: Metaphors

[mbarker.livejournal.com]

Original Posting 31 Dec 2009

Writers Digest, February 2008, pages 79 to 80 has an article by Steve Almond with the title, "Master Your Metaphors." Steve doesn't seem to like metaphors very much, so let's look at what he's got to say.

He starts out by defining metaphors -- direct comparison of two seemingly unrelated subjects. Not to be confused with simile, which makes the comparison explicit by adding in "like" or "as."

The reason for using metaphors is to make the prose more vivid. It's a tool. Unfortunately, Steve points out, metaphors often are assertions of the author's talents, instead of ways to immerse us in the characters' world. They're distractions more often than aids.

Realistic short stories need simple, concrete physical details -- not metaphoric overloads. An untucked shirt might well be a metaphor -- or at least a clue -- to the mental state of the character, but it seems too mundane. So writers toss in storm-tossed feelings, train wrecks of emotions, and jungles of misunderstandings... and readers can't see the characters for the metaphoric mess.

Steve's other objection to metaphors is that they distract readers from verbs. Too often, they are added around perfectly well-chosen verbs, and the reader gets lost in the metaphors (again!). Cut the metaphors, and let the verbs stand on their own. Make the reader focus on the action, not the writer's fancy metaphorical comparison for the action. The right verbs don't need the extra words.

Finally, Steve recommends that if you want to use a metaphor, be precise. Yes, metaphors are figurative. But you still need to make them accurate. Check your metaphors against this list:

• What work is this comparison doing?
• Is it essential to the story or optional?
• Does directing readers away from literal truth point them towards deeper truths?

And Steve provides three exercises! Yeah...

1. Consider the physical and emotional connotations of comparing your protagonist to:

• a hummingbird
• a walrus
• a leopard
• a dung beetle

2. Their bodies met like a _______ and a _______. Consider what the right comparison might be based on the following settings:

• a funeral
• a bordello
• a battlefield
• a family reunion
• a space station

3. Take a look at your most recent story or chapter. Underline every single metaphor or simile. Force yourself to articulate what essential work each is doing on behalf of your fictional world. Now cross them out, one by one. What have you lost? What have you gained?

Metaphors and similes. They're a part of our language, and we often use them without really thinking it through. And like most cliches (notice the simile there?), they can drag our writing into the dirt (metaphorically, of course). So we need to pay attention to them, and choose carefully when to use these tools of the writer.

Write?

TECH: 101 Tips (59)

[mbarker.livejournal.com]

Original posting 1 January 2010

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"Try not to send too many pitches at once. You can overwhelm an editor. No more than four for short pieces, one or two at the most for major articles." Margo True

Back when writers was at nodaka on bitnet, and I was reading things from Japan, there was some argument or something... and I posted a whole slew of stuff, message after message. Someone wrote to me offline and suggested that I was burying my own message in the morass (or something like that). I thought about that, and have tended to post only one or two messages a day ever since. It helps me to focus on getting one good message through (instead of trying to hit my target with a shotgun of messages in the general vicinity) and avoids burying the reader.

I figure the same thing applies to editors (and slush readers, etc.). If you bury them in a pile of stuff, they are more likely to just toss the whole mess without bothering to read each one. Put a few tasty ones right in front of them... and they are more likely to pay attention.

Don't avalanche -- pitch.