Language in Writing Posted: July, 2008
by Gus Flores
Usually when we write, we try not to think too much about the
choice of words we use. Well, maybe not in the beginning---the
first draft. That goes mostly into everything that we write, be
it letters, e-mails, memos, or cards. But as novelists (or
short-story writers, free-lance writers, authors), we have to
be careful in that we choose the right words for our story,
especially when it comes to dialogue. What is the "right"
word? Therewith lies the dilemma (notice I didn't use the
word "problem").
The right word is how a character in your story would say
something in a real-life situation, taking into consideration
what their characteristics are like. For example, in my story,
The Ravine Forevermore, I have several characters that are
from different areas of the country; therefore, their dialects
are different and I wanted to show that in the way they talked.
Plus, some characters are uncouth, uneducated, vulgar. . . so I
chose words that are perceived as uncouth, uneducated, and yes,
vulgar (arguably, these three words are interchangeble).
Keep in mind that I have the opposite characters: the
professors Esperanza and Eduardo Tijerina, and their boss,
Dean Lawrence, whom (who? I have to choose the right word)
are educated and proper. As an example, Eduardo at one point
is surprised when Esperanza utters a cuss word--fortunately,
not at him.
In conclusion, the right word is the word you as the writer
choose to write for any given situation or piece of dialogue.
Readers respect the author's creativity in providing as much of
an authentic feel for the story through the character's diverse
dialogue. After all, the reader demands that a story is true to
life and all writers try to fulfill that demand by striving for
those "just right" words.
Copyright (C) 2008 by Gus Flores. All rights reserved.
by Gus Flores
Usually when we write, we try not to think too much about the
choice of words we use. Well, maybe not in the beginning---the
first draft. That goes mostly into everything that we write, be
it letters, e-mails, memos, or cards. But as novelists (or
short-story writers, free-lance writers, authors), we have to
be careful in that we choose the right words for our story,
especially when it comes to dialogue. What is the "right"
word? Therewith lies the dilemma (notice I didn't use the
word "problem").
The right word is how a character in your story would say
something in a real-life situation, taking into consideration
what their characteristics are like. For example, in my story,
The Ravine Forevermore, I have several characters that are
from different areas of the country; therefore, their dialects
are different and I wanted to show that in the way they talked.
Plus, some characters are uncouth, uneducated, vulgar. . . so I
chose words that are perceived as uncouth, uneducated, and yes,
vulgar (arguably, these three words are interchangeble).
Keep in mind that I have the opposite characters: the
professors Esperanza and Eduardo Tijerina, and their boss,
Dean Lawrence, whom (who? I have to choose the right word)
are educated and proper. As an example, Eduardo at one point
is surprised when Esperanza utters a cuss word--fortunately,
not at him.
In conclusion, the right word is the word you as the writer
choose to write for any given situation or piece of dialogue.
Readers respect the author's creativity in providing as much of
an authentic feel for the story through the character's diverse
dialogue. After all, the reader demands that a story is true to
life and all writers try to fulfill that demand by striving for
those "just right" words.
Copyright (C) 2008 by Gus Flores. All rights reserved.
| Archives |
Writing for an Audience Posted: August, 2008
by Gus Flores
When one writes a story, a novel, or an essay, one has to think about who they're
writing it for---their audience. When one goes to a bookstore or searches for
books online, that person already has a preconceived notion of what they want in
the type of book they're searching. For example, if the reader wants a romance
novel, she expects the writing to be flowery, descriptive in nature, and to have
good-looking characters. In a western, of course, there should be lots of action,
leather-slapping, gunslinging, fist brawls, and dusty locations. And in mysteries
more than likely a murder will take place and it is up to the sleuth to determine
who did it, how, and why. Plus the writing should focus on the main character and
not so much on the crime itself. (Rozelle, 2005)
Let's go back to the reader for a minute. She wants to be entertained, period. If
your writing is sub par, she may be nice enough to commit herself to the book and
keep on reading. More often then not, she won't. She'll pick up something that
will in fact, entertain. (Rozelle, 2005)
Entertainment comes in many forms: television, movies, video games, sports,
concerts, the list is almost endless. But when it comes to books, almost every
page has to mean something: in dialogue, in action, and in the setting. A writer
owes that much to a reader.
So, when writing, always keep your audience in focus. Sure, you want to tell
everyone how you grew up: how you had to walk five miles to school through the
snow, how your house was always drenched after a rain due to the large hole in
the roof, how your principal thought you were a juvenile delinquent, and so forth
[It's not about me, really!]. That scenario would be great if your book was a
memoir or literary novel, otherwise you have to realize what other type of story
it may be (romance, western, mystery, etc.) and who your audience is so that you
can make it the best possible book for them.
Finally, I want to clarify to my audience (all two of you) that I don't claim to be a
writing genius, guru, or expert. Not by a long shot. I only write these articles
in hopes that someone else shares the same views I do toward writing or perhaps
to help someone better understand the nature of writing.
Until next time!
Note: I want to thank Ron Rozelle for the above mentioned ideas on audience and
descriptions of different types of novels from his book: Write Great Fiction:
Description and Setting, Writer's Digest Books, 2005. Cincinnatti, OH. 1st
ed. 212pp.
Copyright (c) 2008 by Gus Flores. All rights reserved.
by Gus Flores
When one writes a story, a novel, or an essay, one has to think about who they're
writing it for---their audience. When one goes to a bookstore or searches for
books online, that person already has a preconceived notion of what they want in
the type of book they're searching. For example, if the reader wants a romance
novel, she expects the writing to be flowery, descriptive in nature, and to have
good-looking characters. In a western, of course, there should be lots of action,
leather-slapping, gunslinging, fist brawls, and dusty locations. And in mysteries
more than likely a murder will take place and it is up to the sleuth to determine
who did it, how, and why. Plus the writing should focus on the main character and
not so much on the crime itself. (Rozelle, 2005)
Let's go back to the reader for a minute. She wants to be entertained, period. If
your writing is sub par, she may be nice enough to commit herself to the book and
keep on reading. More often then not, she won't. She'll pick up something that
will in fact, entertain. (Rozelle, 2005)
Entertainment comes in many forms: television, movies, video games, sports,
concerts, the list is almost endless. But when it comes to books, almost every
page has to mean something: in dialogue, in action, and in the setting. A writer
owes that much to a reader.
So, when writing, always keep your audience in focus. Sure, you want to tell
everyone how you grew up: how you had to walk five miles to school through the
snow, how your house was always drenched after a rain due to the large hole in
the roof, how your principal thought you were a juvenile delinquent, and so forth
[It's not about me, really!]. That scenario would be great if your book was a
memoir or literary novel, otherwise you have to realize what other type of story
it may be (romance, western, mystery, etc.) and who your audience is so that you
can make it the best possible book for them.
Finally, I want to clarify to my audience (all two of you) that I don't claim to be a
writing genius, guru, or expert. Not by a long shot. I only write these articles
in hopes that someone else shares the same views I do toward writing or perhaps
to help someone better understand the nature of writing.
Until next time!
Note: I want to thank Ron Rozelle for the above mentioned ideas on audience and
descriptions of different types of novels from his book: Write Great Fiction:
Description and Setting, Writer's Digest Books, 2005. Cincinnatti, OH. 1st
ed. 212pp.
Copyright (c) 2008 by Gus Flores. All rights reserved.
Writer's Block Posted: September 2008
by Gus Flores
This month, I couldn't think of a topic to write. It's not
that my brain was empty (although that's debatable),
but that it seemed to be loaded with other
preoccupations. But then I realized what I tell my
writing students: write about what you know. This
advice is constantly drilled into students by teachers
throughout the country. But I have to ask: What
happens when you know quite a bit, but still don't know
what to write about? And more importantly, is there
really such a thing as "Writer's Block?"
First, let me try to answer the first question, although
you may have a better answer. We know a lot. Our
experiences, our educational background,
the media constantly bombarding us with new data,
etc. But which of
these do you want to write about? It depends on the
topic, of course, and if you're taking a writing course, it
depends on the specific assignment. On the other
hand, if you're writing a short story or a novel, how do
you move your story forward? Again, you want to think
about any of those three things: topic, assignment, or
story progression.
Second, let's say you have the topic, assignment, or
you need to move your story along, but suddenly you
find yourself staring at a blank computer screen. First,
you want to check if it's plugged in. Then, once you
realize your computer is plugged in, you more than
likely will panic if you still have no idea where to start. It
is precisely at this point that you may be experiencing
the dreaded "writer's block."
What do you do? We've established that you know
quite a bit, but have dilemmas in choosing something
to write about, and that you may be going through
writer's block. What I do is revert back to the memory of
my high school writing teacher who held an apple in
her hand one day and told us to write two pages
(TWO!) on what we know about the apple. She told us
to prewrite first and then to write it comprehensively, all
in a mere forty-five minutes. She told us nothing else,
how they grow, where, the different vitamins, nothing.
That assignment really made me think that if I really
concentrated on that one item, or topic, that I would
produce enough material. It turned out the class
averaged three pages each. After that, I've never
looked at an apple the same way again (I love apples,
by the way.) The end result is that I seldom have a
problem in writing about different topics.
Finally, I've concluded that there may be such a thing
as "writer's block," but that it may mean something
different to different people. Remember I said on my
opening sentence I couldn't think of anything to write
about this month? I was biting an apple while I was
thinking. The way I handle writer's block is
remembering what my high school teacher told me:
Start by biting at the apple until you get to the core.
Until next time!
Copyright (C) 2008 by Gus Flores. All rights reserved.
by Gus Flores
This month, I couldn't think of a topic to write. It's not
that my brain was empty (although that's debatable),
but that it seemed to be loaded with other
preoccupations. But then I realized what I tell my
writing students: write about what you know. This
advice is constantly drilled into students by teachers
throughout the country. But I have to ask: What
happens when you know quite a bit, but still don't know
what to write about? And more importantly, is there
really such a thing as "Writer's Block?"
First, let me try to answer the first question, although
you may have a better answer. We know a lot. Our
experiences, our educational background,
the media constantly bombarding us with new data,
etc. But which of
these do you want to write about? It depends on the
topic, of course, and if you're taking a writing course, it
depends on the specific assignment. On the other
hand, if you're writing a short story or a novel, how do
you move your story forward? Again, you want to think
about any of those three things: topic, assignment, or
story progression.
Second, let's say you have the topic, assignment, or
you need to move your story along, but suddenly you
find yourself staring at a blank computer screen. First,
you want to check if it's plugged in. Then, once you
realize your computer is plugged in, you more than
likely will panic if you still have no idea where to start. It
is precisely at this point that you may be experiencing
the dreaded "writer's block."
What do you do? We've established that you know
quite a bit, but have dilemmas in choosing something
to write about, and that you may be going through
writer's block. What I do is revert back to the memory of
my high school writing teacher who held an apple in
her hand one day and told us to write two pages
(TWO!) on what we know about the apple. She told us
to prewrite first and then to write it comprehensively, all
in a mere forty-five minutes. She told us nothing else,
how they grow, where, the different vitamins, nothing.
That assignment really made me think that if I really
concentrated on that one item, or topic, that I would
produce enough material. It turned out the class
averaged three pages each. After that, I've never
looked at an apple the same way again (I love apples,
by the way.) The end result is that I seldom have a
problem in writing about different topics.
Finally, I've concluded that there may be such a thing
as "writer's block," but that it may mean something
different to different people. Remember I said on my
opening sentence I couldn't think of anything to write
about this month? I was biting an apple while I was
thinking. The way I handle writer's block is
remembering what my high school teacher told me:
Start by biting at the apple until you get to the core.
Until next time!
Copyright (C) 2008 by Gus Flores. All rights reserved.
Character's Characteristics
by Gus Flores Posted: October 2008
I was pleasantly surprised when The Ravine Forevermore debuted
and friends and relatives alike were mentioning the characters in the
story and asking: Am I Myrna? Am I Casey? Are you Eduardo? I
smiled and told them that if that's who they wanted to be, they could
be those characters. Fortunately, they didn't push the issue,
especially when I told them that I took composite characteristics of
certain people I know or used to know to create the characters: a
person's coffee drinking habit with someone else's quirky laugh and
big hair equals a unique character. Somehow, I felt like they were
disappointed in knowing that in fact it was not them in the story. I
pointed out that the story is fiction, and so goes the characters.
For the majority of writers, including myself, characters abound in our
everyday lives. No, we don't live in an imaginary world surrounded by
imaginary friends (do we?). We make it a point to look for
characteristics in people that others may take for granted. For
example, a certain walk--gait if you will-- a crooked smile, a hairstyle
out of the norm, say spikes on an eighty-year-old man, or even a
person's unique sense of enunciation in their speech--does that
person have a lisp or a stutter, even a slight one?--those are
characteristics that we use to enrich our stories, although we take
great care not to describe a close friend or relative to a "T".
We also keenly observe interactions at social events, at meetings, or
anywhere else people congregate. How are the employees relating
to their boss? How do people relate to each other in stressful
situations? A writer is constantly analyzing other people, discreetly
and inadvertently. To a trained writer, the analysis may take no longer
than five minutes, if even that. Sometimes a quick glance will provide
him with hairstyle, clothes, height, weight, gait, and any
"abnormalities." But also remember that fiction writers are just
that--fiction writers. So if a person's hair is red, or shows a hint of
red, he may later describe it as: Her hair was fiery red, with a passion
to match or, as in the case of the spiked-hair man: His spikes were
sharper than his mind.
The person being analyzed (as opposed to being stalked, stared,
ogled) may be wearing clothes that may or may not be indicative of
his/her personality. There have been college professors who drive
motorcycles in leather outfits on weekends, or homeless people
dressed in expensive suits and are clean shaven.
But to the experienced writer, it is all face value at first glance. Once
he has made either a mental note of what he saw or written in his
trusty journal (most writers don't leave home without it), then his
creativity takes over, as in the examples above.
Finally, to lay any fears to rest: The author is usually too busy with
other aspects of the book to size you up. If he has done his
homework, his book is already chock full of characters. But if you
happen to read a story where one of your characteristics is
mentioned, well, enjoy the moment. You, along with several others,
have been molded into the composite of a very important character in
the book.
Until next time!
Copyright (C) 2008 by Gus Flores. All rights reserved.
by Gus Flores Posted: October 2008
I was pleasantly surprised when The Ravine Forevermore debuted
and friends and relatives alike were mentioning the characters in the
story and asking: Am I Myrna? Am I Casey? Are you Eduardo? I
smiled and told them that if that's who they wanted to be, they could
be those characters. Fortunately, they didn't push the issue,
especially when I told them that I took composite characteristics of
certain people I know or used to know to create the characters: a
person's coffee drinking habit with someone else's quirky laugh and
big hair equals a unique character. Somehow, I felt like they were
disappointed in knowing that in fact it was not them in the story. I
pointed out that the story is fiction, and so goes the characters.
For the majority of writers, including myself, characters abound in our
everyday lives. No, we don't live in an imaginary world surrounded by
imaginary friends (do we?). We make it a point to look for
characteristics in people that others may take for granted. For
example, a certain walk--gait if you will-- a crooked smile, a hairstyle
out of the norm, say spikes on an eighty-year-old man, or even a
person's unique sense of enunciation in their speech--does that
person have a lisp or a stutter, even a slight one?--those are
characteristics that we use to enrich our stories, although we take
great care not to describe a close friend or relative to a "T".
We also keenly observe interactions at social events, at meetings, or
anywhere else people congregate. How are the employees relating
to their boss? How do people relate to each other in stressful
situations? A writer is constantly analyzing other people, discreetly
and inadvertently. To a trained writer, the analysis may take no longer
than five minutes, if even that. Sometimes a quick glance will provide
him with hairstyle, clothes, height, weight, gait, and any
"abnormalities." But also remember that fiction writers are just
that--fiction writers. So if a person's hair is red, or shows a hint of
red, he may later describe it as: Her hair was fiery red, with a passion
to match or, as in the case of the spiked-hair man: His spikes were
sharper than his mind.
The person being analyzed (as opposed to being stalked, stared,
ogled) may be wearing clothes that may or may not be indicative of
his/her personality. There have been college professors who drive
motorcycles in leather outfits on weekends, or homeless people
dressed in expensive suits and are clean shaven.
But to the experienced writer, it is all face value at first glance. Once
he has made either a mental note of what he saw or written in his
trusty journal (most writers don't leave home without it), then his
creativity takes over, as in the examples above.
Finally, to lay any fears to rest: The author is usually too busy with
other aspects of the book to size you up. If he has done his
homework, his book is already chock full of characters. But if you
happen to read a story where one of your characteristics is
mentioned, well, enjoy the moment. You, along with several others,
have been molded into the composite of a very important character in
the book.
Until next time!
Copyright (C) 2008 by Gus Flores. All rights reserved.
Fact or Fiction Posted: November 2008
by Gus Flores
Sometimes I am asked if I do a lot of research on my
stories and my answer is yes. You have to make the
story as believable and as convincing as possible, yet
give it that element of surprise and suspense, followed
by a thick keystroke of imagination. The old adage of
"write what you know" is true to an extent, but when an
author does his research, he starts to broaden his
knowledge of the topic he is writing about. As far as
writing what you know, on The Ravine Forevermore , I
had first hand knowledge of migrant workers and their
dilemmas. I then invoked my formula for writing, which I
use on other stories as well.
First, I base the story on what I already know, either
personally or have enough knowledge of the subject
which I hope prevents me from sounding like a
babbling buffoon. Then, I research enough of the
technical and emotional aspects of the subject,
followed by a physical journey to the main setting
location, if possible. For example, in The Ravine, my
family and I traveled twice to Michigan to gather enough
information to create the fictional town of Pinewood.
Which brings me to a sub-topic: What if you dislike
research? Join the group. I despise it also. Let me
rephrase that: I dislike technical research like the type
done in a college course for say, chemistry or physics.
But research for a fictional story? I enjoy it
tremendously. I enjoy being at a location where I can
set a story, enjoy talking to people about their unique
occupations, or "designing" a town, characters, and
plots.
But what I like about fictional research (if that makes
any sense) is that one doesn't have to get too technical
about it. There should be just enough verity to make the
story believable and with that keystroke of imagination,
help transcend the reader to a whole new world.
Until next time. Happy Thanksgiving!
Copyright (C) 2008 by Gus Flores. All rights reserved.
by Gus Flores
Sometimes I am asked if I do a lot of research on my
stories and my answer is yes. You have to make the
story as believable and as convincing as possible, yet
give it that element of surprise and suspense, followed
by a thick keystroke of imagination. The old adage of
"write what you know" is true to an extent, but when an
author does his research, he starts to broaden his
knowledge of the topic he is writing about. As far as
writing what you know, on The Ravine Forevermore , I
had first hand knowledge of migrant workers and their
dilemmas. I then invoked my formula for writing, which I
use on other stories as well.
First, I base the story on what I already know, either
personally or have enough knowledge of the subject
which I hope prevents me from sounding like a
babbling buffoon. Then, I research enough of the
technical and emotional aspects of the subject,
followed by a physical journey to the main setting
location, if possible. For example, in The Ravine, my
family and I traveled twice to Michigan to gather enough
information to create the fictional town of Pinewood.
Which brings me to a sub-topic: What if you dislike
research? Join the group. I despise it also. Let me
rephrase that: I dislike technical research like the type
done in a college course for say, chemistry or physics.
But research for a fictional story? I enjoy it
tremendously. I enjoy being at a location where I can
set a story, enjoy talking to people about their unique
occupations, or "designing" a town, characters, and
plots.
But what I like about fictional research (if that makes
any sense) is that one doesn't have to get too technical
about it. There should be just enough verity to make the
story believable and with that keystroke of imagination,
help transcend the reader to a whole new world.
Until next time. Happy Thanksgiving!
Copyright (C) 2008 by Gus Flores. All rights reserved.
About Time Posted: December 2008
by Gus Flores
Friends and colleagues usually ask: With all these other duties, when do you
find time to write? They continue with: I have a hard time keeping my head
above water. I respond that it's simply a matter of time management. Let's
revisit: "When do you find time to write?"
My dad always said there is always more time than life. And that is
absolutely true. Time goes on forever; our lifetimes do not. So I make it a
point to squeeze in at least three activities that need to be done that day.
How? Prioritizing.
My first thought for the day (after realizing I'm still breathing), is "What three
things do I need to focus on today?" If it's a pressing matter at work, and
according to powers-that-be, everything is, then I list down the things that
need to get done or are schedule specific. For example, if a training is taking
place and the trainer is here for today only, then it's something to focus on,
and so forth.
Once I feel I have completed what I set out to do (my goals for today), then I
work on secondary stuff. When I go home from work, I'm done with work. I
try not to think about it or talk about it. Does that make me less of a
professional? No. Does it balance my life and mental well-being? Yes. Now I
focus on home priorities. What needs to be done around the house?
According to my wife: everything. Again, I focus on three things (to her
dismay). After I've completed my tasks for the day, THEN I work on my
writing. My mind is free from thinking about any tasks and thus I am able to
produce.
Let me also clarify something about the aforementioned tasks: the tasks
don't have to be completed in one day, unless you're meeting a deadline. I do
what is necessary to accomplish the goal. For example, I may complete a
certain report by a certain time, but leave the filing for later, or if it's due two
days from now, focus on it the next day.
One thing to remember. At least in my case, the inspiration to write, or the
right words, or the right "moment" for writing may not be there when I finally
sit down in front of my computer. It is then that I revert to writing words on
the page that I know I'll be able to fix during the rewriting and editing stage
(see article in "Archives" posted Sept. 2008). I also try to write at least
two-three pages per day, and if I can write more, the merrier.
Finally, my day is complete at around 9:00 p.m which allows me time to
relax, sip on a beverage, watch television and so on. In the morning, it all
starts again. So, yes, I manage to find time to write, and equally manage to
find time to do everything else. I figure I have the same 24 hours as the
busiest person or the laziest person. I just found the balance between the two.
Until next time!
Copyright (C) 2008 by Gus Flores. All rights reserved.
by Gus Flores
Friends and colleagues usually ask: With all these other duties, when do you
find time to write? They continue with: I have a hard time keeping my head
above water. I respond that it's simply a matter of time management. Let's
revisit: "When do you find time to write?"
My dad always said there is always more time than life. And that is
absolutely true. Time goes on forever; our lifetimes do not. So I make it a
point to squeeze in at least three activities that need to be done that day.
How? Prioritizing.
My first thought for the day (after realizing I'm still breathing), is "What three
things do I need to focus on today?" If it's a pressing matter at work, and
according to powers-that-be, everything is, then I list down the things that
need to get done or are schedule specific. For example, if a training is taking
place and the trainer is here for today only, then it's something to focus on,
and so forth.
Once I feel I have completed what I set out to do (my goals for today), then I
work on secondary stuff. When I go home from work, I'm done with work. I
try not to think about it or talk about it. Does that make me less of a
professional? No. Does it balance my life and mental well-being? Yes. Now I
focus on home priorities. What needs to be done around the house?
According to my wife: everything. Again, I focus on three things (to her
dismay). After I've completed my tasks for the day, THEN I work on my
writing. My mind is free from thinking about any tasks and thus I am able to
produce.
Let me also clarify something about the aforementioned tasks: the tasks
don't have to be completed in one day, unless you're meeting a deadline. I do
what is necessary to accomplish the goal. For example, I may complete a
certain report by a certain time, but leave the filing for later, or if it's due two
days from now, focus on it the next day.
One thing to remember. At least in my case, the inspiration to write, or the
right words, or the right "moment" for writing may not be there when I finally
sit down in front of my computer. It is then that I revert to writing words on
the page that I know I'll be able to fix during the rewriting and editing stage
(see article in "Archives" posted Sept. 2008). I also try to write at least
two-three pages per day, and if I can write more, the merrier.
Finally, my day is complete at around 9:00 p.m which allows me time to
relax, sip on a beverage, watch television and so on. In the morning, it all
starts again. So, yes, I manage to find time to write, and equally manage to
find time to do everything else. I figure I have the same 24 hours as the
busiest person or the laziest person. I just found the balance between the two.
Until next time!
Copyright (C) 2008 by Gus Flores. All rights reserved.
Sticks and Stones
by Gus Flores Posted: July 2009
I was talking to another published author the other day and we discussed how our material is criticized,
reviewed, and perceived by most people--some of it good, some not so. We touched upon the issue that
everyone is entitled to their opinion. Of course, we want everyone to enjoy our stories and to keep buying our
books. However, we discussed how some of our stories, although they are fiction, are taken as being true.
Personally, as long as there is discussion about the story, no matter what the angle, I am happy. To me it
means the story was bought, read, and now analyzed; the opposite would not be good.
The above mentioned author, who happens to be a poet, seemed dismayed that some of her poetry was
misconstrued, that every element, every word, had to be factual, and that she was being criticized for not being
accurate. For example, in one of her poems she mentioned the yellow rose of Texas as being the flower of
Texas. Well everyone, including herself, knows that the official flower of Texas is the bluebonnet. But for her
poem to ring true, to keep with the couplet, meter, and rhythm, she had to use the words "yellow rose." Alas,
when her book came out and her circle of friends read the book, they immediately tried to correct her. She said,
"No, if I wanted the 'official' flower of Texas, then I would've written 'bluebonnet.' She continued by saying that the
yellow rose of Texas is in line with Texas folklore, which I agreed.
As our discussion continued, we also touched upon the issue that not only is our work criticized--I prefer the
term "discussed"--but also our own character is questioned. I mentioned in an earlier topic (see "Archives")
about the language in writing and what is expected of each character's dialogue. Some friends whom have
known me for quite some time look at me differently once they read one of my books: "I can't believe you would
use that kind of talk." Of course, I tell them that I don't talk like that (they know I don't), but that the character has
to. A friend whom came to my defense said, "If you're behind a dump truck full of rubbish and all of a sudden it
dumped its contents on top of your car, you're not going to say, 'Oh, fiddlesticks!" You're going to say, 'Oh, sh--!'"
So the characters in the story have to sound true to life. That is one of the mantras of any creative writing course.
It would be unfair to the die-hard genre reader if it was any other way (Of course, an author takes his
audience into consideration: He wouldn't write inappropriate language in a children's or young adult's book.)
Upon concluding our discussion, the author/poet seemed content that she spoke to someone she felt
understood her point of view. I told her to keep writing and not to let any "discussions" get in the way of her
creativity. After all, writers, poets, musicians, actors, painters and any other person that let their creativity be laid
out on the table has to accept any criticism or discussion about their work. And sometimes, it may not be what
was expected.
Until next time!
Resonance
by Gus Flores Posted: October, 2009
This month I would like to touch upon the idea of resonance. What is resonance
and how does it relate to writing? Let's explore a few things first. Have you ever
had a favorite song, or a song you just heard on the radio, play over and over again
in your head, hours after it played? We all have. It is said then that the song has
resonance. Have you ever seen a movie and the finale left you awestruck,
dumbfounded, maybe confused, and you thought about the ending for quite some
time? Resonance. Finally, have you read a book, in whatever genre you prefer, and
the final chapter, maybe the last paragraph, or even the last sentence left you in
some type of mood, i.e. Happy, sad, confused, wowed? You guessed it,
resonance.
Most, if not all, books, films, songs that you remember in some shape or manner
has resonance, or else you wouldn't have remembered. The author, unless
he/she is extremely gifted at coming up with a resonant ending on the fly, probably
spent countless hours agonizing over the ending of the story. He knew that if his
200 plus page story had any meaning whatsoever, the reader had to remember
something, and hopefully the ending, to where she may go buy another of his
books.
The dictionary defines resonant as an echoing effect. Think of resonance as going
into a cave, or a canyon, yelling out something and waiting for your voice to come
back to you. Or plucking a guitar string (on the guitar, of course) and hearing the
note play out. That echoing effect is what most, if not all, writers want in their
stories. Yes, the plot may be interesting, or the premise, or the characters, or the
dialogue, but if the story doesn't end with resonance, all of the other ingredients
may not be of any importance. I'm sure cooks reading this know what I'm talking
about (I'm not a cook, by the way). When their dish is all said and done, no matter
how fancy or clever the ingredients, it is the "wow" factor with people eating their
food and asking for the recipe, that determines if they did a great job or not. So it is
with writing, the "wow" factor, resonance.
I'm an avid reader, and I am constantly awed by the writing of some of my favorite
authors (Peter Robinson, Steve Hamilton, Lisa Gardner, to name a few). But no
matter how much dialogue I read, how much beautiful scenery is painted, how the
characters deal with the different situations they are placed in, the ending is what
keeps me wanting to read more of their books. But please don't buy or borrow a
book and go to the last page just so you can feel or read how they invoked
resonance--you won't feel it. It is like everything else in writing, the ending is part of
a whole. You have to read the complete story in order for the end to actually have
meaning. And not just meaning, but for it to echo in your mind.
As a writer, it is important that you do agonize on the ending. Picture yourself as the
reader, or the editor, and ask yourself if the ending of your story made the whole
story complete. If it does, then go ahead with your ending. However, just like the
above-mentioned cook being asked for his recipe, you want the reader to ask for
your next book. Make sure your ending echoes.
Until next time, time, time.
by Gus Flores Posted: October, 2009
This month I would like to touch upon the idea of resonance. What is resonance
and how does it relate to writing? Let's explore a few things first. Have you ever
had a favorite song, or a song you just heard on the radio, play over and over again
in your head, hours after it played? We all have. It is said then that the song has
resonance. Have you ever seen a movie and the finale left you awestruck,
dumbfounded, maybe confused, and you thought about the ending for quite some
time? Resonance. Finally, have you read a book, in whatever genre you prefer, and
the final chapter, maybe the last paragraph, or even the last sentence left you in
some type of mood, i.e. Happy, sad, confused, wowed? You guessed it,
resonance.
Most, if not all, books, films, songs that you remember in some shape or manner
has resonance, or else you wouldn't have remembered. The author, unless
he/she is extremely gifted at coming up with a resonant ending on the fly, probably
spent countless hours agonizing over the ending of the story. He knew that if his
200 plus page story had any meaning whatsoever, the reader had to remember
something, and hopefully the ending, to where she may go buy another of his
books.
The dictionary defines resonant as an echoing effect. Think of resonance as going
into a cave, or a canyon, yelling out something and waiting for your voice to come
back to you. Or plucking a guitar string (on the guitar, of course) and hearing the
note play out. That echoing effect is what most, if not all, writers want in their
stories. Yes, the plot may be interesting, or the premise, or the characters, or the
dialogue, but if the story doesn't end with resonance, all of the other ingredients
may not be of any importance. I'm sure cooks reading this know what I'm talking
about (I'm not a cook, by the way). When their dish is all said and done, no matter
how fancy or clever the ingredients, it is the "wow" factor with people eating their
food and asking for the recipe, that determines if they did a great job or not. So it is
with writing, the "wow" factor, resonance.
I'm an avid reader, and I am constantly awed by the writing of some of my favorite
authors (Peter Robinson, Steve Hamilton, Lisa Gardner, to name a few). But no
matter how much dialogue I read, how much beautiful scenery is painted, how the
characters deal with the different situations they are placed in, the ending is what
keeps me wanting to read more of their books. But please don't buy or borrow a
book and go to the last page just so you can feel or read how they invoked
resonance--you won't feel it. It is like everything else in writing, the ending is part of
a whole. You have to read the complete story in order for the end to actually have
meaning. And not just meaning, but for it to echo in your mind.
As a writer, it is important that you do agonize on the ending. Picture yourself as the
reader, or the editor, and ask yourself if the ending of your story made the whole
story complete. If it does, then go ahead with your ending. However, just like the
above-mentioned cook being asked for his recipe, you want the reader to ask for
your next book. Make sure your ending echoes.
Until next time, time, time.