[identity profile] mbarker.livejournal.com
Original posting: Wed, 13 Apr 1994 18:35:01 JST
Gwanda D. Newcomma took a hesitant step into the room. She shivered, looked at her feet, then whispered, "I.. I write non-fiction, and wondered if you could tell me about fic..fiction?"

John T. Wordschmitt grinned, hand stuck out firmly, and arm reaching for her shoulder.

"Why, sure! Call me Jaunty, everyone does! Fiction is real different from non-fiction, but hang around and try it, you'll like it."

Gwanda took a step back. For a moment, she quivered between the quiet safe world outside and the inane mumbling behind John. Then a weak smile touched her lips as she touched the tips of her fingers to the hand still sticking out in front of her.

"Do you blast every newcomer with a bold hello?"

John laughed.

"Only the ones who ask hard questions, like what's fiction. Look, why don't you try a romance to start, they're sweet and pretty easy. Then we could do a collection together, if you want?"

He dragged her further into the fantasy, the twirling shining milieu of fiction, slowly separating her from the facts that held her tied to reality until she began to dance the stately pavane that twisted madness into profits. He wondered if she would hate him when she realized he was that most despised creature, an agent, a bloated parasite sucking 15% from those he infected with the artistic bug...

[stop, stop... what was the question?]

A while ago, a newcomer to the list mentioned that they had written non-fiction. Someone welcomed them with a comment to the effect that non-fiction and fiction are very different.

I didn't say anything at the time, but I have been pondering that assertion, and wondered whether the rest of you find it as questionable as I do.

Let me go back to (roughly) Shannon's model of communication - one person has some notion, perception, etc. They encode this in language (skipping lightly past the difficulties of that process) and transmit the result. Another person hears, reads, whatever the transmitted result. They, in turn, decode the message, reconstructing something which they think corresponds to some extent with the original notion or perception.

There are stylistic and other techniques in the encoding process which are more often found in fiction or non-fiction writing. However, in thinking about those techniques, I really couldn't pinpoint any which could not be used in either field.

There is, of course, a difference in the topic or content - non-fiction, by convention, is supposed to stick rather closer to facts, while fiction to greater or lesser extents involves deliberate use of non-factual material. But, and I think this may be the critical point, only the writer (and on occasion some witnesses to the events being described) knows for sure whether or not something is factual or purely imaginary.

We may suspect that there is no Moriarty lurking in the criminal sewers of the world, but especially if the writer does a good job, we may be quite suspicious that this person might be real (not merely willing suspension of disbelief, but strenuous misleading of belief...). We may not want to believe that the President could mislead and deceive in a Watergate, but the descriptions and tales are simply too convincingly real to ignore, and the correspondence with facts overwhelming.

Take a newspaper story - a stylized format, and conventions that sometimes try to keep it "objective". Yet when we read the piece about an accident at 4th and Vine, is there anything beyond those conventions that assures us that this is non-fiction? There is the common assumption that if someone besides the author were to check, there would be marks on the pavement, people in the hospital, police reports, etc. to match the description - but what difference does that make to the writing?

Or take a fantasy story - "clearly" fiction, and again with certain conventions for presentation. Suppose that we were to check, and find that the author had suspicious dealings with rather ill-defined critters in the garden at midnight when the moon is dark? Suppose, indeed, that the events and scenes were no more than simple fact. Would this destroy the writing?

I will admit that the style of presentation - scenes, point of view, etc. usually used for fiction and non-fiction are widely different. But I don't see that they must inherently be different, and in some cases it may be quite effective to borrow the style of the other sort.

One nice aspect to fiction is that when the ending isn't what we wanted or the character doesn't say something well, we (as writers) can and should change it. Non-fiction, at least as a mirror for the "real world," is ordinarily not supposed to alter what is "out there." Selection, arrangement, and so forth can allow the non-fiction writer quite a bit of latitude in molding that mass of facts into a piece, but the non-fiction writer isn't supposed to catch the criminal or force the ending unless that is what "really" happened.

Of course, this is no more than saying that non-fiction is supposed to deal with facts, while fiction deals in part or whole with an imagined reality which can vary from the facts (although it can also match them as closely as you want...).

BUT - does this question of correspondence with "reality" change the writing? I think in either case (writing about "real" events or "imaginary" events), the problems of clearly showing the scene, characterizing participants, bringing out a problem and solution (conflict), keeping the reader's interest, and so forth are identical.

Where, then, is the difference in non-fiction and fiction? Anyone feel up to explaining?

[oh - Gwanda and John T. had a brief, but meaningful, romance. She taught him that love, not money, makes facts wobble and words spin, and they wrote happily ever after ... and that's the truth!]
[identity profile] mbarker.livejournal.com
original posting: Fri, 17 Jun 1994 11:24:17 JST

Not to co-opt whatever it is you're into, but it does seem as though there is a thread of rejection of stereotypes as a valid method of labeling an individual somewhere in the muddle...

[by which rather clumsy device, pray allow me to reintroduce an elderly topic with some relationship to ... writing!]

It seems to me that most of the rejection of stereotypes (and other labels) runs on several legs.

Imprimus (that's a fancy first!), there is the problem that a label tends to "suck up" and "cover over" attributes and characteristics that identify individuals. E.g., having said someone is born in a certain time, one is likely to generalize some feature of some people also born in that era (what I have so elegantly called "sucking up") and then attempt to claim that all those born at that time somehow share that feature - simply due to their birthday (and the "cover up"). From here, one can easily move into astrology.

Secondus, while there may have been some kind of reasoning (or semi-reasoning) process involved in developing a label, in use one often skips re-introducing the reasoning. Perhaps the "shorthand" form is sufficient for ordinary miscommunication, but in the pursuit of better writing, one should take some care to reinforce the forgotten chains of stereotypical development. E.g., instead of simply saying "He was a WASP, and therefore had lots of money," take the time to introduce his family, allude to their humble abode on Fifth Avenue, perhaps even bring in the yacht and the "summer cottage" in New Hampshire - one need never mention the quantity of money carried in his paper bag as he shuffled around Central Park one step ahead of the police. Really. Just let people know that he was a "free-lance recycling agent, specializing in aluminum cans and beer bottles."

Tertius (we want a firm stand, so we need at least a tripod), so many labels, although perhaps convenient in some way, have no evident logic behind them. What difference does being born during the same period make? Granted, there was a statistical bulge related to a period of sexual irrelationships attributable to a war. How much convergence did social and cultural influence have during this period? Would the ex-farmer who went to college and then (horrors!) left Ohio after the war raise children in the same way that his closest friend who went back to the family farm after the war did? For that matter, did New York city and down-field Kansas (to take two examples) suddenly grow homogenized during this period?

Well, that's a three-legged push towards discussing stereotypes and individuals in writing. As I've stated once before, I find ordinary people, who often resemble the stereotypes, somewhat interesting as subjects of writing. Still, it seems to me, the more I think about this, that the focus on individuals in writing implies that even when describing a person who fits into a stereotypical mold quite well, it is extremely important to "break the person out of the mold" and make them a living, breathing individual...

Perhaps we might consider how to take a stereotype and characterize the character in sufficient depth to take the person out of the stereotype?

Or, of course, we can return to the exchange of generational myths. (does anyone have a list of heroes, villians, and archtypes by generation? when's the test on this, anyway?)
[identity profile] mbarker.livejournal.com
original posting: Fri, 4 Feb 1994 08:18:19 JST

(I split the subject because Tsirbas really isn't talking about my exercises, but about how to write - I think)

Tsirbas wrote
- Exercises cannot, however, replace the act of actually sitting down
- and writing a complete piece from start to finish with the goal of
- meeting the criteria of some outline or idea one has had.
Well, no, but... I have to admit, I've been in too many places where someone said "Just write" (talk, program, paint, ...) without providing some clues to the pieces. my ski instructor didn't take me to the top of the expert slope and say "Now Ski." There were some preliminaries. Why do chess players practice gambits, positions, closings, and so on?

Or maybe a better illustration is over in the artistic painting field - the instructor rarely sits you down, hands you brush, oils, etc. and says "Now Paint!" First you get to practice and study composition, perspective, colors, etc. In many schools, you'll spend quite a while simply copying "old masters" - imitate this. now do it again. okay, here's another one.

I will admit, some teachers may start by saying "do it" - then start giving out studies, exercises, and so forth based on what they see as your weak spots or abilities needing sharpening. That's testing by doing, and is pretty useful...

Let me suggest that writing suffers from this notion that we can do it "naturally." Admittedly, everyone studies some in school - but does the year of shop that I took in school make me a great cabinet maker? Or the several art classes I had - which came very close to convincing me that I hated the stuff and was totally unable to do it?

Let me suggest where I see the exercises fit. (not just mine, there are books and magazines and so forth stuffed with them)

It's just like painting or any other creative pursuit. There are parts of the process which can be separated out and studied - practiced - independently (these are exercises). While it may seem tedious, even boring or pointless, these provide the basic tools that then are used in the final act. If you want to paint, you may get perspective, color studies, endless copying of old masters, and a whole host of other exercises. Some teachers may start by saying "paint" - and then assign exercises based on what they see you missing. Others just start with a set of basics and move everyone through them.

So - yeah, the exercises don't replace the basic WRITE - FINISH - MARKET cycle. But just like any set of exercises, the skills you learn may very well help you when you try the real game...

Exercises, in most fields, are intended to construct, reinforce, and sharpen desirable habits, models, or patterns of thought, which then carry over into practice. In some cases, the exercise may be extended into something useful in itself, but the main point is to condition the process so that it happens "naturally."

I'm kind of intrigued with your description of Ray Bradbury's process - where did you learn this?

Personally, from his Zen in the Art of Writing and the frequently reprinted one with the silly long name ... usually shortened to "The Thing at the Head of the Stairs" ... I have the impression that he started with at least 10 years of imitating the "old masters." At least one thousand words a day, just imitating - that's exercise! Then he sold a story or two - and went back to imitating for another ten years or so. Then he started his list of words and phrases, and started "intuitive" writing.

I think I could almost depend on my "natural" writing after churning out some 8,000,000 words of imitation... that's roughly 50 to 80 novels he wrote in "exercises" to get to the point of writing short stories "naturally."

Further, the one week crank it and drop it in the mail idea is pretty common to the writers from the "Great Pulp" era. It's where Asimov got blamed for saying first drafts only (as he explains it, he "rewrote" heavily beforehand, but to save paper, only typed it once), Heinlein got a similar reputation, Jack Williamson, the list goes on. Mostly, I think it was economics - the big market was short stories, the pay stunk, you couldn't do much else.

Several mystery writers also had similar notions - and some of them were cranking out whole novels (short, perhaps, but penny dreadfuls...) I know I've seen one of them commenting on a period when s/he wrote one complete novel each week.

Even then - read carefully between the lines, and you see some of these writers spending time "behind the curtains" - lists of words, draft notes, brainstorming, and so forth. I think they did tend to focus on one story, and really work on that one "at the top" during the week - but the other stories were perking...

BTW - as I've related before, I've seen Harlan Ellison (I think) in a publicized stunt write a "brand-new" story during a convention. Tapped away at the typewriter, posted the pages as he finished them, and sold the story. BUT he also had a huge ratty lab notebook (engineer style) that he kept sneaking peeks at... I can believe the "final writing" was new at the convention, but I would dearly love to know what kind of "prewriting" was in that notebook.

[in the following, I grow a bit unrestrained in my wording. Please believe, Tsirbas, that I am not attacking you - I am simply reacting to a notion that I think has caused more trouble for me than I ever would have believed. You are getting the backblast from fighting this evil python for over 20 years... sorry!]
- Creative exercises are of no use to a writer unless he or she, upon
- sitting down to write, is able to let go of all restraint, of all
- preconceptions and all possible criticsms. If upon sitting down, and
- having a brilliant, twisted idea you think, "What will my mother's
- reaction be when she sees this in print?" then you have already set
- limitations on your creativity. No amount of exercises will make you a
- better writer unless you are true to your own personal genius.
time out! number one, while I agree that part of the process of creativity consists of lowering, challenging, and otherwise working around restraints, preconceptions, and fear of criticism, guess what - that's almost exactly the point of the exercises I'm posting! That process CAN be exercised and trained - that's a big part of what DeBono (anyone recognize the CoRT exercises?) has spent some 40 years or so showing people. It ain't just "you got it" or "you ain't" - there are clearly defined ways of helping you slip those bounds.

(in fact, if you're interested, there's a theoretical background that explains why these bounds are so tight, and how the lateral thinking techniques work around them - read The Mechanism of Mind.)

I've personally used these techniques in training people, and my experience is that they work. Try them, and judge for yourself.

number two - there's the "natural writer" notion again - somewhere buried under all that gunk, there is a creative genius waiting to be freed. Simply lay aside all the bonds that life has put upon you, and it will emerge and shatter the world. Drugs, drinking, god I gotta live in the village... maybe acid will free the true genius...

Bull! that's saying the little kid playing with paints against the wall is automatically better than the artist who has spent years learning to do the basics, to the point where the technique "vanishes" and the art appears.

Better yet - consider the old Zen adage, that when you know nothing, trees are trees, and mountains are mountains. When you begin to learn, trees are not trees, and mountains are not mountains. And when you reach the essence of Zen - trees are trees again, and mountains mountains.

Translate that into writing - when you know nothing, stories are stories. Then you start to learn, and nothing seems quite right. And when you really get it down - stories are stories again.

I think most of us are in the "nothing seems quite right" phase - and practicing the basics until they are habitual is one way of getting past that...

sorry - I don't buy the "natural genius" model. that's the approach that takes 100 programmers, sits them down, says "program" - then trashes 99 of them, since they aren't "naturals." guess what - I can take 100, and in 98 of them, make them not just humdrum, but magic gurus that companies are happy to steal. I've done it. And I refuse to play the game of saying if you can't do it natural, you can't do it.

(two go off and play with each other - every time! some things take precedence, I suppose...)

this is a critical point to me. please don't trashcan people - we don't have enough to go around, honest. and that's what the "natural" writer method does.

Every "natural" I've studied, met, spent time with (programmers, writers, potters, painters, and others) has spent quite a bit of blood and sweat, time and energy, learning the basics so well that they can do it "naturally." It's almost offensive to call them "natural" - they are so far from "natural" that mistaking their trained abilities for some kind of natural in-born talent belittles the efforts they have taken to get there. Saying it is "unconscious" now simply means they've worked at it a lot!

Okay? I happen to agree - practice, practice, practice. Some people do it copying old masters, some insist on beating their own way in the wilderness, some prefer nicely packaged little "technique" exercises, some want or need a grand theory to tie it all together, but everyone needs to keep working until they reach the point of "natural" writing... which is highly unnatural!

If you mean you have to practice until writing becomes habitual - I'll agree!

Did I misunderstand you completely? I really hate this idea, and I'm afraid I may have read it into what you wrote, in which case I owe you an apology for dumping this on you...

[again, sorry about the harsh words. I just really hate this notion of "natural genius" with all of its implications for those who "don't have it." No one has it!]

tink
[identity profile] mbarker.livejournal.com
original posting: Wed, 8 Sep 1993 18:00:05 JST

I, and others, have been using the word "stereotype" fairly freely recently. However, I have noticed that some of the uses aren't quite in synch with the way I use it. Therefore...

Debating 101 says always define your terms before starting, so I looked at some dictionaries.
[Webster's New World] a fixed or conventional expression, notion, mental pattern, etc.

[OAD] an idea or character etc. that is standardized in a conventional form without individuality
Interesting - one dictionary simply says conventional, while the OAD adds the notion that the stereotype "lacks individuality."

I tend to think of a stereotype as a typical person, someone you may be able to classify or categorize easily. Someone who fits (largely) in the middle on whatever scales you are using. I.e., a member of the majority, rather than one of the statistical outlyers. An identifiable "type"?

This does not mean they are necessarily a "flat" character, merely that their peculiarities are ordinary ones which may be seen in many other people.

I suppose one way to put it is that these are the people who (mostly) are the way we expect them to be and do what we might expect merely from a superficial description. The person who works to support a family (instead of having a secret laboratory, neurotic compulsion to power, or whatever). The president of a company who is doing a good job without crushing everyone in sight, embezzling funds, etc. The child who is well-adjusted.

So I go along with the idea of stereotype as conventional. That does not (to me) seem to imply they lack individuality. A conventional person - a "Father Knows Best" type, for example - can be absurdly individual and out of place in today's world. It seems to me that one of the major plotting "themes" available today is that of the conventional person faced with the uncertainty, confusion, and outright unconventional world around them.

Other people seem to consider a "stereotype" as a "flat" character, or perhaps an "Everyman" abstraction that lacks definition. An identifiable mask for the author to cloak some idea in to let it stalk around?

I don't think of stereotypes as lacking individuality. They are identifiably unique and interesting, even though they are just ordinary people who might be met anywhere.

To "break the stereotype" simply because it is expected or conventional ignores the fact that the stereotype may have grown out of very real social, economic, etc. circumstances, and there are usually many people who fit it altogether too well. Each an individual, but largely predictable. That's why people use "stereotypes" - they identify useful patterns of behavior in a simple way, allowing them to deal with people mostly in terms of the "type" instead of having to worry about unpredictable reactions.

Interestingly, Analog (Oct. 1993) has an editorial about "Nouveaux Cliches" in which Stanley Schmidt challenges writers to three points:
1. Don't confuse weak characters with strong characterization
2. Remember that human beings are not the center of the universe, or even the only interesting thing in it.
3. Dare to be fun!
His major point about characters is that some people ARE happily married, some people can manage their own lives, some people ARE the majority, yet the "cliche" of current writing is that no one has virtues, everyone is a psychological disaster area, no one can manage their own lives, marriages are all falling apart, ad nauseum.

(or as I would say, some people are stereotypes - ordinary people.)

I guess what I'm saying is that it seems possible to me to portray an ordinary person AS an ordinary person and still make them interesting. Frankly, I don't enjoy all the broken and fringe people that seem to populate current literature - they don't act like people I know, they aren't familiar, and their "solutions" seem to be surrenders.

Joe B. mentioned
- probably somewhere in the middle. I think this way of
- thinking probably helps prevent overreliance on stereotypes
- by acknowledging that people often appear "contradictory"
- merely because we tend not to accept their complexity, their
- changeability, and , like Whitman, contain, if not multitudes,
- at least small crowds. Thanks!
Joe - does this mean you see stereotypes as "flat" characters, one-dimensional characters?

Anyone - when you say "stereotype", what do you mean? How does this relate to the characters we use in writing?

Can you portray someone doing exactly what is expected - and still have an interesting, strong character?

[I haven't even touched on my thoughts about plot and setting, but they are parallel. Incidentally, anyone want to discuss the inherent stereotyping and generalization of language, of words themselves? I mean, how do you communicate if you don't share concepts?]

Any responses, comments, or thoughts gratefully read.

Apologies for accidentally bringing up a writing topic. Flog me. (no, not you, TJ.)
[identity profile] mbarker.livejournal.com
original posting: Sun, 8 Mar 1998 13:05:56 EST

[this could be addictive...tink]

Multiple Choice:
a. Do you lie online?
b. Do others lie online?
c. Do you tell the truth online?
d. Do others tell the truth online?
e. Some of the above
f. None of the above
g. I'll take the State of Confucious for $200, Eubulides
h. How can you tell?
Truth, Jaundice, and the Internet Way?

Don't forget to tell us a bit about why and wherefore thou dost unbind thy lantern when searching for honesty in all the bits and bytes, and which blindfold hangs over the beamish eyes of us all...

"If a man, sitting all alone, cannot dream strange things, and make them look like truth, he need never try to write romances." Nathaniel Hawthorne, The Scarlet Letter [1850] The Custom-House.

tink

(oh, and if you want to send me suggestions for other poll topics, please do...)
[identity profile] mbarker.livejournal.com
original posting: Thu, 3 Feb 1994 01:30:03 JST

(being a rather abstract look at the same problem we've been kicking about anne frank, bosnia, area writers, and so forth...)

Start with the notion that people largely think in patterns - A happens, B happens, and people derive a pattern mostly by taking the common elements - most differences are tossed and lost. So the worm in the head builds ruts for itself...

Now, what does communication do? back to the old times - we get to send uncle joe around the other side of the mountain, then listen to him to figure out whether or not to go there. if he just says it's more of the same, skip it. If he says there's good eating around the corner, well, maybe we all take a hike. If he says they's monsters and they is coming this way, for sure we all take a walk the other way...

if he says there are golden temples and nymphs and fawns dancing in the mists, we clobber him on the head and have dinner (what a kidder that uncle joe was - there really were mists around there!)

anyway - the key is that we use communication to extend the territory covered by the ruts the little worm doth spin.

's aright? but suppose (just suppose) that there aren't so many virgin frontiers waiting to be crossed. still there are some interesting possibilities hidden behind or between the silky walls of the ordinary ruts. I.e., while the writer may find the easiest task is simply describing what's on the other side of the mountains, an interesting variation on this is helping the little worm break through and build some new ruts right here at home.

Notice that in any case, the job of the writer is never to simply repeat the well-known plodding ruts. even worms get bored, I guess.

This notion of writing as extending, building anew, breaking down, or reworking the perceptual grid through which we structure experience (virtual, fantasized, actual, whatever) is rather interesting to me. If this be true, then it seems as though humor (which generally involves a sharp change in perceptions) may be an integral tool in the process. For that matter, puns (rather than being a corruption of literary purity) are one of the tightest forms of writing, since they always involve two (or more) meanings (well-rutted patterns) being brought into conflict in a very compact form.

Admittedly, many readers may feel more comfortable with slower alterations in the internal scenery. Walk them along the ruts with just enough new stimuli to let them wallow in their torpid placidity, and they will reward you well for it. But perhaps the writer has claustrophobia and wants to open the windows...

hum - this argues that the writer whose background or context differs from that of the readers may have an easier time constructing a message which provides that taste of strangeness that we learned to love in ancient times (exogamy - the love of the stranger - was a practical necessity to survival of the species, as inbreeding does some very bad things in small groups). At the same time, they may have more difficulty linking their message to the well-known ruts of the readers, and I think most readers need some help in getting up speed before they tear through the edges of their own webs... (remember poor uncle joe!)

writing, then, may be considered as one way to counteract the staleness of inbred thoughts, to avoid being trapped in the labyrinth of tiny little passages that all look just the same.

I like that.
tink
[identity profile] mbarker.livejournal.com
Original posting: Wed, 2 Feb 1994 01:30:03 JST

[lots of new critters in the pond (HI!), but I still want to kick this around... forgive me for not quoting everyone, but I thought I'd just summarize and go bravely where I hadn't rambled before...]

Does the Reader know the Writer?

I think that's sort of the topic we're wandering around.

Okay, let me reiterate what I think was the original question - how important is knowledge of the writer's situation to judging the work? (e.g. does the fact that the anne frank of bosnia is writing in bosnia, and is 13 or something, alter the value of the work?)

randy and stuart have gone wandering a bit, bringing up the questions of shared background, internal meanings vs external words, and so forth.

Tsirbas Christos also added some interesting comments on the notion of categorizing writers by their nationality (or other group membership - I'd never really thought about it, but that "area authors" corner in some bookstores really is a rather nasty ghetto to be stuck in, isn't it?)

[Hi, Tsirbas! thanks for joining in...]

good stuff, one and all...

Let me drop a few more pebbles in the rather muddy waters we're treading about the writer, the words, and the reader.

Interesting - especially if I stop and think about something like Shakespeare's work, or Gawain and the Green Knight, where I need commentary just to have a chance of figuring out some of the social and historic references. Take a gander at the original 1000 nights and a night, without reading the footnotes? very difficult.

I suppose the negative case of Japanese writings where you don't even understand the language doesn't clarify much...

Consider, though, reading something like the original Robinson Crusoe or Swiss Family Robinson (not the kid's versions - the old monsters). Stylistic barbarisms, with an overlay of socially accepted trash (the White Man's Burden, don't you know!).

Or take Tarzan, Lord Greystoke - in the original, with the whole wonderful mixture of "British supremacy" with "the natural man." It's enough to make almost any modern reader feel uncomfortable...

Heck, pull the author and cover off one of the "golden age" space operas (E.E. Smith) and try to convince a modern reader to read it.

It does seem as though the effect (and affect) of a piece of writing in part depends on how similar the background is. At the same time, I think the detailed knowledge of the author's personal history, while sometimes adding some depth or understanding to a piece, really should not be required to understand and enjoy the piece.

Let me switch fields for a sec - Picasso's Guernica (sp?). Disturbing, almost tortured piece of art. I didn't care for it, then someone told me there was a war there... and suddenly the piece started making sense. Now, that little piece of information helped me connect the pattern of thoughts and make a whole out of it.

An interesting question for some kind of theoretician might be what information needs to be added to "set the stage" for understanding a writer's work. Actually, it may not be so theoretical - when you bring a book (or short story, etc.) from America to Japan, for example, there are some severe limits on the "common background" you can expect.

It seems as if there is a kind of continuum here, from the writer and reader having largely common background and knowledge (which allows them to communicate with the least words and should tend to limit misunderstandings) to cases where writer and reader share very little. It might be interesting to compare different readers - could we say that the writer who manages to convey roughly the same message to a statistically larger percentage of the readers is more "effective"? What then becomes of a Bach (or maybe a James Joyce?) whose messages are so bloody complex that most readers don't follow it even when it is simplified and laid out in great detail? (I was thinking of Johann Sebastian, incidentally - the musician).

What about a Marshall McLuhan? I have one of his early books - Mass Communication Theory? something like that. and found it absolutely inspiring, although I could only read about one paragraph a day! DENSE! Then he became popular, and started doing 15 minute books with practically no content - comic books for adults? To me, his later work is eminently discardable, even though it reached a much larger audience.

Hum - complex questions, which probably have complex answers.

BTW - I've seen a write up of someone who took several pieces by well-known authors, polished the names off, then tried submitting them under an unknown name. Rather amusing collection of rejections, editorial slams, and so forth...

Would it make any sense to say that while the names, situation, and so forth are likely to have a high level of influence in our reading of "current" material, these factors are likely to change over time, resulting in rather different evaluation of the writing? E.g., while a piece from the 60's calling for popular support of the Vietnam war might have been a winner at the time, dragging it out now is likely to be a problem.

you know, there is something in here that reminds me of the rather well-known comedy bit, where the young man is excited over the voice on the phone... and then we learn that this exciting voice belongs to a well-worn, rather overstuffed mother of whiny little brats...

does it really matter what the writer is like, or where, or when? if the words ring, the images live, I can't see it being important whether Hemingway was homosexual, impotent, or even a lush. I think I agree with Randy - once the writer "lets go" of the words, the whole business turns into one between the reader(s) and those words. Admittedly, the writer should do the best they can to form and mold those words for the audience they expect - but if the readers find pornographic imagery underlying it that the writer never thought of, that is just as accurate as the writer's vision...

(further ramblings as soon as I find the other file I started on the same topic. sometimes the mental filer misfires. :-)
[identity profile] mbarker.livejournal.com
original posting: Wed, 23 Feb 1994 18:35:01 JST

(maybe it's an essay?)

I noticed that we've hit again the topic of that evil little box lurking in the corner of most homes (if not occupying a central shrine where the devotees gather for regular services). Not to argue with anyone, but I do have a few thoughts on the topic.

(what! the overall level of writing, characters - if you can call them that -, the plotting, etc. STINKS!)

true. there are occasional exceptions - perhaps even a higher percentage than in printed novels, for example - but in general, true. Don't watch the tube to learn good writing.

One hesitation - advertising tends to be extraordinarily effective in terms of catching the listener and getting a message across. Sometimes it is worth studying.

And there was a flash in the corner of my eye - oh, yes. Some of the visual hints - how they establish a scene, a mood, an identity through the details shown sometimes is quite good (even in poorly written shows). Worth a look or two...

But, in general, you are absolutely correct - the level of T.V. broadcasting doesn't provide a very challenging target in terms of story handling technique.

(do you really think it's safe for people to waste hours and years of their life as passive addicts of mindless entertainment and stimulation? That damn noisy box sucks!)

true. even the roman circuses had to stop regularly for food, collecting more Christians, sleep for the lions, and so on. the tube, with vcr, cable, and other technological boosts, can easily absorb all the time you are willing to give it.

(well, then - be like Elvis and pop the tube!)

no. Elvis wanted to run and hide, and did. But writers can't afford that luxury.

The T.V. can be a magic window opening on far places, news, sights and sounds around the world, and the person next door. In that role, it is indispensable to the modern writer.

Further, the T.V. is, in some ways, the "Bible" of modern culture - the "common cultural background" which the writer needs to be well-acquainted with to extract metaphors, similes, and other items to touch the larger audience. It doesn't matter whether you use them as is or break them for shock or schlock - you have to know them to use them effectively.

Also, the T.V. is part of the cultural explosion reaching those who aren't in the heart of the beast. We saw a recent documentary of a Japanese man who went up the Amazon and into the life of an Indian tribe far from everything. Only 71 members left alive, and the biggest killer is the common cold! Lots of interesting little facts and sights, but one of the most impressive to me was what they recommended this modern day adventurer take as presents for the tribe. Videotape movies.

That night, under the huge roof, the head of the tribe fired up a gas generator, turned on their T.V. set, and showed them one of the new movies - a shipwreck disaster flick (not sure which one - I missed the name and they all look alike...). Utter silence, intense little eyes and older ones clustered around, watching and learning about the big world out there...

One of those kids may be one of your readers in years to come. And they'll know what you are talking about because you share the same culture of the tube!

Even closer to home - while there have been attempts to "standardize" curricula in the schools, I think the strongest homogenizing factor is that dratted tube. Fads, catchy phrases, and so on spread remarkably quickly now - at least in part because someone is watching that escape hatch from the narrowness and smallness of local reality.

(what, you want me to spend all my time in a daze watching the tube? when do I write?)

no. consider the t.v. as a magic window, opening up the heart and soul of ordinary life and ordinary people for you. What you find there may be appalling, even shocking, but don't break the window. Pull back the curtains now and then and glance into it, gaze at some parts and steal some notions of what the backstreets of Los Angeles look like, then close the curtains again and get back to work with a wider knowledge of what's out there than you can get without taking advantage of the technology.

I hate to say it, but those one or two hour vacations by tele-vision to the other side of the world are a lot cheaper when you take them on the public tour. Admittedly, you can't stop and walk aside, or ask questions while the tour director is running their mouth - but with a vcr, you can stop and look at details, and you really don't have to take the whole trip... I've become cunning about cutting the sound if I just want to watch the background and people, and don't really care what the idiot commentary is.

The tool isn't the problem - don't break the telescope just because your neighbors insist on watching girls through it. keep your eye on the glimpses of beach and ocean, the sea waves curling in the background, and the dolphins dancing... that's a pretty wonderful telescope to play with!

(stay tuned - more after this commercial break!:-)
tink
[identity profile] mbarker.livejournal.com
original postings: Tue, 13 May 1997 11:17:50 EDT

just for a little zing in the thinking...

(p. 115) "...we might begin with the proposition that mystery arises at that point where different kinds of beings are in communication. In mystery there must be strangeness; but the estranged must also be thought of as in some way capable of communion. There is mystery in an animal's eyes at those moments when a man feels that he and the animal understand each other in some inexpressible fashion."

"While the mystery of sex relations, which leads to the rhetoric of courtship, is grounded in the communication of beings biologically estranged, it is greatly accentuated by the purely social differentiation which, under the division of human labor, can come to distinguish the 'typically masculine' from the "typically feminine."

"Similarly, the conditions for 'mystery' are set by any pronounced social distinctions..."

"And all such 'mystery' calls for a corresponding rhetoric, in form quite analogous to sexual expression: for the relations between classes are like the ways of courtship, rape, seduction, jilting, prostitution, promiscuity, with variants of sadistic torture or masochistic invitation to mistreatment. Similarly, there are strong homosexual analogies in 'courtly' relations between persons of the same sex but of contrasting social status...."

From A Rhetoric of Motives
Kenneth Burke
University of California Press 1969
[identity profile] mbarker.livejournal.com
(last modified Nov. 13, 1995)

Date: Thu, 25 Nov 1993 18:00:05 JST
Subject: FAQ: A Preliminary List of Sparks and Irritants

[Actually, this is more like Frequently Angry Forest Fire Starters, but I'm not sure people would recognize the acronym FAFFS...]

These points arise repeatedly on this list and are prone to result in anger, frustration, and flamewars of various denominations. Please consider before you toss that match!

1. What does this have to do with writing?
Often directed at humor, exchanges of human interest, or other postings that do not contain in large letters words such as "WRITING IS" or "CHARACTERS ARE" or "PLOTS" or other direct revelations of writing relevance. Somewhat self-contradictory, since such postings rarely have a good connection to writing.

Responses normally indicate understanding of the connection between any posting on this list and the activity of writing (i.e. putting words in order is what writing is about - specific forms differ in their acceptance as "Real Writing"). Poseurs of the initial question often adamently refuse to give up their porcelain thrones and insist that such trivial exercise is not suited to "Real Writers."

Preferred method of expressing this opinion - start with your own writing, and make sure it is the best you can do. focus your responses on those postings which are "suitable," providing them with positive feedback to increase the frequency of such "good" postings. Keep your bloody trap shut about the attempts of those not up to your exalted state of glory, misspostings, and similar rustlings in the bushes, because you could start a stampede!

If you think someone is really off-track, discuss it with them VIA PRIVATE EMAIL!
2. Real writing, real writers, professional writers...
Many of us have suffered under criticisms involving these terms, to the point where our hackles go up whenever they are used. Consider, briefly, the common practice of exclusion by referring to "REAL" anything - writers, programmers, etc. Real men don't eat quiche. So, if you eat quiche, you aren't a real man. Real writers don't use adjectives. You used an adjective, therefore... Real writing is published in The New Yorker. Other claptrap need not apply.

Perhaps you intend these terms in another way, without excluding people, without dividing the world into the have's and the have-not's, the anointed and those gentiles out there. However, the usage as a phrase designed to exclude and divide is so common that any time you think of using these words you should think twice, checking to be very, very sure that you are not pushing part of your readership away.

Preferred - writing. writers.

Perhaps I should say that real writers prefer writers and writing, without modification?

(actually, I think I'm a fake writer - or maybe an artificial writer?)
3. Why doesn't everyone do things the right way?
This comes in various flavors, but it usually boils down to THE ONLY WAY to do things is the way I do them.

Writing, like most arts, seems wide enough to accommodate more than one way of doing things. Even worse, often we simply don't know the way you do things...

Two variations of this are the appeal for literary quality or commercial sales orientation. These particular religions are persistent and widespread, but they are not the only answers. Really.

Preferred - I have found the following way (provide discussion) works for me. What do you think? (makes an excellent TECH piece!)
4. Why are there so many messages on this list?
This is often a disguised variation of "What does this have to do with writing." It does have a certain truth in it, though.

This list can generate up to 150 messages per day, and is fairly prolific (that's why they are called writers - they write!). Some of these messages are fairly long (guilty, your honor!). So, if you have a small quota in terms of number or size for mail, it may be difficult to handle the traffic on this list.

If you are concerned about not reading every message, or somehow not being able to "keep up" with the list, please relax. While many of our members try to at least scan every message, it is inevitable that you must skip some messages and not reply in detail to some. Consider this as part of your training as a writer - picking out and selecting those parts of the flood which are important to you, and taking the time to respond clearly.

An interesting variant of this complaint points to extremely short messages as a glut on the list, or gripes about long messages as being unreadable.

This is probably one of the most self-contradictory messages that is posted to this board - adding one more message to the flood does not reduce it.

Preferred: Keep paddling or get out of the flood, but don't try to turn off the floodgates, you'll just get hurt.
5. How can you write about (sex, death, abortion, xxx) in that way?
This often is the response to a humorous posting, or a posting that takes a different view of the subject than the reader prefers.

The basic answer, of course, is that we are writers, and each of us has some ways that we approach the wide range of subjects that affect human life. Freedom of speech is one approach to ensuring that we do not simply cut off the heads of someone who says something differently than we might.

Beyond that, I think every writer needs to stop and look inward sharply when they feel this kind of question pop up. This is, in essence, not a question for the original writer, but a question for the reader - why does this presentation make you jump? What is it about a humorous piece on necrophilia (for example) that makes you feel somehow dirty and disgusted with the human race? Admittedly, a joke about death may seem shocking and irreverent to some - why?
 
For it is that stirring in your soul that is likely to develop into your own "great writings" - whether in response, desperation, or simple avoidance, and you had best pay attention when it comes up.

Preferred response - as with the first question, don't attack. Put your best writing in, encourage those who are doing well with the reward of your attention, and let us work together to build the group up. I do think it can be very helpful to indicate to the writer that this particular approach and subject matter were difficult for you, and suggest an alternative approach if you can think of one.

When you are looking at the stars, it is hard to pay attention to the muck underfoot...
6. Flaming Exits
Some people feel impelled to post their final message in a deliberately antagonistic, angry vein. In many cases, this is also their first posting, which makes the derision of being informed that we haven't done what they wanted even more ridiculous than it was intended to be.

As has been noted, often such people post, but then lurk on the list for some time waiting to see what kind of response they get.

There seem to be two major useful responses to such flaming exits. One is to post a humorous commentary, basically intended to cheer up the remaining members of the list, dispersing the pall that such an exit tends to produce. The other is to refuse response, to hold back and go on.

There is, of course, the counter-flame. If the poster happens to be lurking around, this can result in a running battle, which usually ends up with the person leaving and the list disturbed and perturbed. If the poster is not lurking, such counter-flames do little except for sometimes stirring up those remaining on the list.

Frankly, I see little benefit in responding to flaming exits in any way on the list, except possibly by private email asking for reasonable comments and wishing good luck in finding whatever they are looking for.
7. Flames
Flames, and especially long-term battles involving name-calling and other aggressive/abusive strategies, often call forth further flames, in an expanding spiral of mutual flaming that can leave a burned wasteland behind.

Preferred response - think before you post. wait a day, read it again, and decide if you really need to post this. Consider sending it as private email.

Consider what impression people will receive of you. Don't forget, your next boss, future friend, or next door neighbor may be reading this. Think how they will laugh at you!
Fleabites...

1. Why hasn't anyone responded to my piece? (typically sent 15 minutes after sending a 2000 word piece:-(
Sadly, most of us have a few other involvements in our life. No matter how it may appear, we are NOT simply plugged into writers, waiting to read your piece and respond instantly.

Preferred - be patient. take someone else's piece and respond to it! do a critique, a tech piece, something else, and wait.
2. That was really good (or similar responses, comments, etc. without a clue as to what they refer to)
Due to the magic of technology, some of us won't even see the piece you are responding to for some length of time after seeing your piece, and there may be any number of intervening pieces, even from the same author. Of course, some of us can't remember from one piece to the next, even if they are sitting in the mailbox together.

Preferred - copy enough material from the piece you are responding to or commenting on to give the reader the context of your remarks. Note that a similar rationale should be used for comments on books, T.V. shows, etc. outside the list - some of us won't be watching The World Mud Wrestling Championship for Mixed Cow and Human Tagteams, honest! So make sure your comment gives us enough background to understand what you are talking about.
3. Posting private email without asking the originator
Now, in some cases, the confusing comments result from references to private email. Obviously, one way to handle this is to include some of the original email - however, you should ask the originator for permission before doing that.

It is always permissible to respond to private email with private email. Responding in public is a bit like pulling the covers off during private intercourse - check with your partner before revealing yourself to the public!

Preferred:

In general, post when you think more than one person can benefit from seeing your work. if it is really just for one person, send it private email.

Respond to postings by posting to the list when you think more than one person can benefit from the response. Respond by private email in other cases.

Respond to private email in private email. If you think it is important enough to post, discuss it with your correspondent beforehand.
[brought to you as a public service by Smokey the Bore, who is getting tired of coughing. Stamp out forest fires before they start - kill a matchmaker today!]

if you have other sightings of smoking embers, hotspots, etc. to report, please feel free to contribute. you can post or send your flame warnings to me (tink!)

Remember - why do ducks have flat feet? so they can stamp out forest fires. why do elephants have flat feet? so they can stamp out flaming ducks. why do people have flat feet? got between the elephants and the ducks...

<splat!>
[identity profile] mbarker.livejournal.com
original posting: Wed, 16 Aug 2000 06:44:24 -0400

based on Difficult Conversations by Douglas Stone, Bruce Patton, and Sheila Heen, ISBN 0-14-02.8852X

(very loosely -- mostly, I borrowed their list of emotions and the notion of layered emotions.  Don't blame them for where I took the notion, though :)

p, 94 talks about the way that we often miss the bundle of feelings (or the spectrum of emotions) hiding behind simple labels or a strong emotion that overshadows the rest.  So, let's give our character two emotions (pick two numbers in the range from 1 to 11, okay?):

1.  Love -- affectionate, caring, close, proud, passionate
2.  Anger -- frustrated, exasperated, enraged, indignant
3.  Hurt -- let down, betrayed, disappointed, needy
4.  Shame -- embarrassed, guilty, regretful, humiliated, self-loathing
5.  Fear -- anxious, terrified, worried, obsessed, suspicious
6.  Self-doubt -- inadequate, unworthy, inept, unmotivated
7.  Joy -- happy, enthusiastic, full, elated, content
8.  Sadness -- bereft, wistful, joyless, depressed
9.  Jealousy -- envious, selfish, covetous, anguished, yearning
10.  Gratitude -- appreciative, thankful, relieved, admiring
11.  Loneliness -- desolate, abandoned, empty, longing

Pick one of these terms (either the main one or another, your choice).

Let's see.  You have the two written down in front of you?  Please make sure you've numbered them (1 and 2, very simple).

Do you have a coin?  Yep, flip it.  Heads for 1, tails for 2.

[what do you mean, your coin doesn't have heads and tails?  Oh, pimento trees?  Leaping frogs?  Well, pick a side and call it 1, call the other 2, and flip, flip, flip!  Or just pick one of the two emotions, poor favor, okay?]

The one you've selected is the one the character starts out knowing about, while the other is simmering and bubbling away just under the surface.  May (or may not!) be visible to others, but the character really isn't aware of it.

Toward who?  Well, that's for you to come up with.  Sister, brother, parent, child, boss, employee, spouse or spice or some other person, probably in a situation that makes things a bit tense.  Pick your scenario, okay?

Oh!  Just for fun, take a few minutes and think about ways that each of these feelings might come out in judgments ("If you were a good friend, you'd do this for me."), attributions ("Why are you trying to hurt me?"), characterizations ("You are just totally inconsiderate."), and solutions ("Obviously, the answer is for you to call me more often.").  These are some ways we often think we are expressing emotions, while actually carefully making sure that the person we are addressing isn't given a clear indication of our feelings, and (as a bonus) will almost certainly respond to the judgment, attribution, blame, and direction in a negative way.  So let the character use these diversions.

And the scene?

You put it together.  Essentially, we want to start with the character happily dwelling on the dominant emotion, expressing themselves... probably add a bit of conflict, a few uppings of the ante, and then... something helps the character realize that there is this other emotion lurking and gurgling underneath, and they need to reassess themselves.  Give us a little of that change, that shift in the sense of persona as the character realizes that not only are they angry, but afraid too (or whatever the pairing is).

Go ahead and write.
[identity profile] mbarker.livejournal.com
original posting: Fri, 02 Feb 2001 12:24:00 -0500

Let's take a look at some thoughts from Writing As a Lifelong Skill by Sanford Kaye, ISBN 0-534-22218-8

Up to Now: Your Writing History

"B.  Process and Product.  A second, issue to explore is the emphasis your teachers placed on correctness and on writing as an act of communication."

"The teaching of writing evolves over time and the emphasis shifts from one generation to the next.  Over the last twenty years, the trend has been away from identifying problems toward developing strategies for clear thinking and for communicating with a variety of readers.  There are still some people who think that correct grammar, punctuation, and spelling ensure a good piece of writing.  Other people, without much regard to the conventions of standard English, feel their mistakes are trivial as long as they make themselves reasonably clear to readers.  But either extreme, simple correctness or pure expression, is self-defeating.  A perfect paper that doesn't say anything is as unreadable as a heartfelt paper that is filled with mistakes.  Readers, of course, prefer a balance of clarity and power."

The question, of course, is how important these two are to you.  How important is correctness in grammar, punctuation, and spelling?  How important is clear thinking and communicating with readers?  How do you balance the need for expressive power and the desire for careful adherence to conventions?

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