THE ART OF STORYTELLING: PART I: THE CONNECTION TO CHARACTER By Penny Hutson

Have you ever wondered what makes readers like some stories more than others or why some stories last for ages and others do not?

Just as Robert Ripley's famous series dares us to "Believe It or Not!" I assert that while all good stories contain many of the same elements, to create a riveting tale that readers can't put down, there is one simple yet powerful tool you can use to create such stories. 

Common Elements in a Good Story

First, and foremost, a story must entertain. I don’t mean it can’t be serious or important, nor am I suggesting stories should all be amusing or light-hearted; but a good story is engaging, interesting, or enjoyable to its audience. This may account for the popularity of the traveling troubadours and bards of the Middle Ages. They knew all the popular tales, as well as the noteworthy theses from the universities, the healing power of herbs and simple medicines, and the scandals of the royal court. Many also played one or more instruments and could compose poetry at a moment’s notice. Essentially, they knew what their audience wanted to hear, and they delivered it. 

Secondly, a story must have all the components of a story – a clear structure, satisfying resolution, relatable characters, and conflict or tension. While some may argue over what exactly delivers clarity, satisfaction, and relatability in a story or may disagree on the correct amount of conflict or tension; most would agree on the importance of such elements.

The Secret to a Successful Story

Yet, even if a story contains all the above-mentioned elements, it’s no guarantee it will be good. Are some people just born with the innate ability to tell stories while others are not, or does the success of a story depend solely on the opinions of its fickle readers? Maybe there is something else writers may often overlook.

Lisa Cron believes there is, and she says in her book, Story Genius, that it’s the biggest mistake writers make. In her world, it’s not even a story unless the protagonist is affected by the events in the plot and “changes internally as a result.”

Of course, this is true in character-driven stories. What about plot-driven ones?  Cron believes that “Ultimately, all stories are character driven . . .”  

Examining the Evidence

Before you object or agree, let’s examine the evidence. Can you think of any classic novel or masterpiece which has stood the test of time that does not have a dynamic protagonist who is profoundly affected by the events of the story? Let’s consider Hamlet and Jane Eyre or Scout, in To Kill a Mockingbird. What about Fitzgerald’s Nick Carraway and Jay Gatsby or Tolkien’s Bilbao Baggins and Frodo? They were all profoundly affected by the events in the story and changed internally by the end. Even in Poe’s famous short stories, “The Cask of Amontillado,” and “The Tell-Tall Heart,” both narrators/protagonists turn murderous due to the actions, real or imagined, of another and are left profoundly changed. 

So far, the evidence suggests that Cron may be on to something. She also says, “Anything that doesn’t impact the protagonist’s internal struggle, regardless of how beautifully written or ‘objectively’ dramatic it is, will stop the story cold, breaking the spell that captivated the reader, and unceremoniously catapulting them back into their own lives.” Much like the third rail on a subway train, Cron argues, that internal struggle serves as the novel’s live wire or “electricity that illuminates the plot, the voice, and the talent, bringing them all to life.”  She also asserts that “. . . everything – action, plot, even the ‘sensory details’ – must touch the story’s third rail to have meaning and emotional impact.”

Whether you think Cron overstates the importance of an internal struggle to the overall success of a story or not, it may be worth considering. Viewing your story through this new lens may provide a much-needed boost or reveal something you didn't realize was missing. Try it. You’ve got nothing to lose.

Tune in next time for Part II of my series on “The Art of Storytelling: A Brief History,” on June 6. 

BEST WRITING ADVICE (PART THREE) : THE ALMIGHTY B-I-T-CH by Penny Hutson

 

If you’ve read (Part One) and (Part Two) of my “Best Writing Advice” blog series, then you know reading a lot and not looking back to edit the previous day’s work are tools I’ve used in completing first drafts. Today’s advice gets me started and keeps me creating. 

I’ll beg my readers’ pardon for the crude sounding acronym in my title, which merely stands for “butt in the chair.” It’s not a new expression, and you may have heard it before. I used it for the chuckle or laugh of recognition it might bring, but also because I find it fitting to the task. Let’s face it. Writing is hard, and often the hardest part is making yourself sit down and write. To stop whatever else you’re doing, get rid of any distractions, and just write can be a daunting task.

I have a friend who’s been developing a novel in her head for more than thirty years – true story. Eventually, she plans to write it down and publish it but insists she’s got to get the entire story just right before committing anything to paper. As you’ve likely guessed, she hasn’t written or published a single word. Perhaps that’s an extreme example, but many of us are doing some version of that. We’ll finish writing that mystery when we figure out who the killer should be, or we’ll start that new romance when we have an original storyline, better hook, or more interesting main character. The reasons are endless.

My advice this week is to just sit down and write, or start an outline, at least. I never get any writing done unless I’m sitting in front of the keyboard and typing. Others may use a pen and paper or voice recorder. Some may even create at a standing desk. It doesn’t matter how you write. It only matters that you do. Sure, we get ideas in the shower, while driving or doing something other than writing; but we must put the words down on the page (be it virtual or real ink) or they disappear.

And just for the record, no writer envisions an entire story or nonfiction piece with every detail in their head worked out ahead of time. The truth is that writing begets writing. Ideas bring more ideas, but you must write them down first. I can’t explain why this is true, just that our brains appear to work that way. You must write out your first thoughts, lines of dialogue, or descriptions before the next lines will come to you. If we spend too much time thinking, like my friend, it will take much longer to reach our writing goals or worse - we may never even finish.

BEST WRITING ADVICE (PART ONE) : REMEMBER THE THREE Rs - READ, READ, READ by Penny Hutson

 

Like many writers, I’ve received a ton of advice over the years from various sources, including other writers. Naturally, some were more useful than others. So, I’m beginning a series of the best writing advice that contributed directly to my own writing. I’ll cover one piece of advice in each blog and explain how I used it and/or the difference it made in my writing. I hope you find them useful.

The first one is that you must read a lot. And, according to famed novelist, Stephen King, “if you don’t have time to read, you don’t have the time (or the tools) to write.”

I’m starting the series with this piece of advice because it seems the most logical. First, anyone can do it. No need to be an accomplished writer or have a completed draft. Secondly, it’s best done before you begin writing. If you want to write a gripping novel, for example, you’re not likely to be successful if you haven’t read a bunch of gripping novels beforehand.

There are always exceptions. However, as I used to tell my students, if they were one of them, they’d probably know it by now. It’s like thinking you can become a great chef or successful baker when you haven’t tasted any great dishes or baked goods. You’d have nothing to go on.

Writing is similar.

You must read a lot, but what you read can be just as essential. For instance, if you’ve haven’t read a young adult novel since you were one many years ago, don’t expect to create a good YA novel without reading some good ones first. Likewise, don’t try to write a memoir or self-help book without reading some in those genres.

My first manuscript was YA because I had spent the previous thirty years as a middle and high school librarian and English teacher. I read hundreds of YA books during that time, and I knew what kinds of stories were popular with young people. All of this informed my writing. I am certain I could not have written that story prior to my educational career. I simply would not have had the necessary tools. And if I continue to write YA books, guess what? I must keep reading the new ones coming out, so I can keep up with what’s popular now and changing in this genre.

So, if you want to be a good writer, don’t forget to do lots and lots of reading.

WHAT IS GOOD WRITING THESE DAYS? By Penny Hutson

 

Don’t we all know what good writing is? It’s certainly not repeating too many words or using too many of the same words in the same sentence. That’s what I’ve always been taught and taught my students when I was an English teacher, teaching English for many years. Not using incomplete sentences, either. And you should never start a sentence with a coordinating conjunction like “and” or “but” or use a preposition like “with” to end a sentence with.  Anyone annoyed yet?

Okay, maybe that was a bit over the top. However, as a former English teacher trained in avoiding such writing faux pas, I wonder if I notice them more than the average reader. For instance, when I pick up a novel with a ton of repeated words, cliches, or adjectives, I stop reading it and likely refrain from reading other books by the same author. Perhaps that’s unfair, but with so many excellent books and a limited time to read them, I can’t justify spending it on poorly written ones that I truly don’t enjoy. I find myself getting annoyed, often ruminating aloud, “How many times is she going to swallow or bite her tongue? No, his eyes didn’t flash. That’s not even possible!” I believe you get the idea.

Yet, when I look at many of the best sellers and award-winning novels on the market today, I can’t help but notice how often these devices are used. It appears that a vast majority of readers don’t care about such things; and the writers (and publishers) are raking in big bucks to the tune of millions. According to several sources, James Patterson and John Grisham are worth over 800 and 400 million dollars, respectively. They are among the top-selling authors today, but they are certainly not alone. Many others are earning close to or as much and with worse writing, in my opinion.

So, what gives?

Now, I’m not asserting that either Patterson or Grisham are terrible writers whose works don’t deserve to be in print, although I’ll admit I’ve seen many whose publication successes are quite mystifying to me. I have read several books by Patterson and Grisham, including some of their young adult novels, and I enjoyed them. Truth be told, they manage exciting plot lines, interesting stories, and compelling characters even with all the cliches and what I’d call average writing. In fact, it makes me wonder if I’m overly concerned with such things in my own writing, when it appears that most readers in our current society don’t seem to care about or perhaps even prefer such writing.

Of course, I know there’s always been a difference between good literature, like the kind we read in high school and college, and what is often called junk or pulp fiction. You know the kind - those steamy romances, swashbuckling adventure, or detective mysteries essentially telling the same story over and over except with different characters and settings. We know they’re not winning any Pulitzers, but we love reading them anyway. However, there appears to be so much more of the latter being published and purchased today.

So, I’m asking you, as writers, how much do you worry about such things? Do you think readers today care more about the story than the writing itself, perhaps even preferring that style of writing over the more polished, literary kind? Essentially, I’m asking if you think “good writing” has been replaced. What else could explain the enormous profits made by those publishing works without it? I’d love to hear your responses.

IS TRUTH REALLY STRANGER THAN FICTION? by Penny Hutson

 

On a recent sojourn to one of my favorite places, Barnes and Noble, I found the most unusual book. While searching for anything I could find on Joan of Arc, the history of France and the Hundred Years War, I stumbled upon Bad Days in History: A Gleefully Grim Chronicle of Misfortune, Mayhem, and Misery for Every Day of the Year by Michael Farquhar. The cover depicted a cartoon drawing of a wooden Trojan Horse and an ancient Greek soldier tentatively holding an apple up to its mouth. It made me smile, so I added it to my other finds and headed to the on-site Starbucks. With a cappuccino in one hand and a stack of paperbacks and hardcovers cradled in my other arm, I commandeered a table to peruse my treasures.

In the Bad Days in History, the author chronicles the epic misfortunes and terrible bad luck of some of the most absurd and often little-known occurrences of our time with a touch of light-hearted humor. Plucked from the ancient days of yore to the 2000s, this tome consists of 365 uproarious blunders and catastrophes from around the world.