Cut, Paste, Sigh. And, Repeat.

Since last Friday, I’ve done a lot of reading and reflecting on the novel that I am trying to write. This novel writing business isn’t easy.

During the last week, I flipped through – and clicked through – several great articles on theme and irony, character goals, and ways to breathe life into your story. My recent post on theme and irony stirred up a flurry of comments and more great information from Lydia Sharp. As well, the March issue of The Writer has turned out to be a wealth of information for a fledgling novelist like myself.

I say “fledgling,” because I wavered back and forth between thoughts that “this thing will never fly” to the word that pops up almost every other day in conversations on writing: persistence.

I highlighted the title of my novel and marked it as “temporary.” And (almost kicking and screaming), I went back to the beginning of the draft. I dropped in a brand new opening scene. Then, today, instead of diving into a rewrite of the next chapter, I took out chunks of the story that suddenly switched up the plot (like when the main character’s mom died, no she didn’t, yes she did…CUT). And, I started making an outline.

Starting with an outline would likely make for a smoother rewrite in the future. Now, I know. As a writer, I feel myself growing in all directions. I am reminded again of a quote from one of my favorite writers, Margaret Atwood:

A lot of people do have a book in them – that is, they have had an experience that other people might want to read about. But this is not the same as “being a writer.” Or, to put it in a more sinister way: everyone can dig a hole in a cemetery, but not everyone is a grave-digger. The latter takes a good deal more stamina and persistence (26).

There’s that word again. Anyone can find inspiration for a story, but it takes perseverance (and a willingness to go back to the beginning) for that story to take root and flourish.

This novel continues to be my exercise in developing plot, character, and structure, as well as in sticking with a project until the end. Even if the story never gets published, I will be a different writer once I put the manuscript down for good.

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Atwood, Margaret. Negotiating with the Dead: A Writer on Writing. New York: Anchor Books, 2002. Print.

The Aunt Evelyn Report

Today’s word of the day, from Wordsmith.org, bears the simplest definition.

Fleet Street. noun. The British Press.

You might think a few words of meaning would make for an easy quick write on Wednesday’s word. Not for me. It’s the little things that trip me up in life.  The etymology of Fleet Street, however, sheds a little more light on a tough challenge :

After Fleet Street in London, once the center of British journalism.

I, like my son, do not like to lose at anything, so sometimes I make up the rules as I go along — it’s called being flexible. And, I say, since etymology directly affects a definition, it counts as usable material when concocting a story around Wednesday’s word.

[Check back next week for a Guest Post on Wednesday’s Word by Ann M. Lynn at Shadows in Mind]

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The Aunt Evelyn Report

Aunt Evelyn was like Fleet Street, personified, a real hub-bub of information.

That’s what her British boyfriend said, anyway. Aunt Evelyn met Richard on a Retirement Cruise last winter. It wasn’t a cruise for those en route to retirement, but if you were retired, you could cruise.

And, Aunt Evelyn did.

She came home with a sunburn, a bag of stories illustrated with souvenirs, and a new boyfriend. Richard lived in D.C., but he flew out to Ohio every few weeks to visit Aunt Evelyn.

“I fly out here to love on Evelyn and to get the facts straight on the latest news. Your Aunt has more credentials than the Washington Post!”

The amazing part was that Aunt Evelyn often knew what was happening even before the person to whom it happened.

Once, I stood in the cold on the side of the freeway and stared at my car. The last two minutes of driving had felt like I’d been four-wheeling in the bed of a dried up creek, and I couldn’t figure out why. Before I made the circle around my car, I looked up and saw Aunt Evelyn’s black Lincoln pull over behind me. She stepped out of the car and held up her index finger up, signaling me to hold up a minute. She was talking on her cell phone.

“Yes. That’s Right. Thank you so much, Mr. Frederickson.”

“Aunt Evelyn? What-”

“I just happened to pull onto the freeway about two miles back, and I saw you pull over. Looks like your passenger side front tire failed you. I’ve got AAA on the way.”

“You just happened to pull onto the freeway?”

She told me to get into her car and warm up while we waited. “Sometimes life works that way, honey.”

But, life always seemed to work that way for Aunt Evelyn.

When my fiancé broke up with me, Aunt Evelyn appeared at my door before I had a chance to let it sink in that he was gone. My fiancé had been facebooking with his high school sweetheart and decided she knew him better than me, even though they only dated for a year – fifteen years ago – and we’d been together for the last five. Ten minutes after he took the engagement ring off my finger and drove off in his new Mazda rx-8 (black with gold pin stripes), Aunt Evelyn rang the doorbell. She held out a bouquet of flowers.

“I was just on my way to the mall, and I bought these flowers off an old man at the corner, just a few blocks from your house. I thought you might like a little pick-me-up on a cloudy Saturday afternoon.”

I broke down, and she ushered me into the kitchen. She poured me a glass of tea and told me, men come and go.

“Love is blind, and you never know when the end is near.” She spoke from experience. Husband number one left her for the neighbor’s daughter. Husband number two took off for a “business venture” in Hawaii, with his best friend.

“What every girl needs is a nice Brit from out east who only visits for long weekends.” She patted my shoulder and said she’d be back after her errands to take me out to dinner that night, and for as many Saturday nights as I needed.

Sometimes I wondered if Aunt Evelyn didn’t have psychic powers, especially after my mother’s stroke. Aunt Evelyn and I arrived at the hospital at the same time, and we entered into my mother’s room hand in hand. But, when the doctor walked in with my mother’s chart, Aunt Evelyn’s expression revealed the seriousness of my mother’s condition before the doctor spoke a word.

Two days later, Aunt Evelyn called me at midnight and told me to meet her at the hospital. We snuck into my mother’s room and each took one of her hands, while she took her last few breaths.

When Aunt Evelyn told me she had Alzheimer’s several years later, she said her life was like reading the newspaper with holes in it. Details got lost first, then whole sentences disappeared. She was afraid that soon enough, the only thing left from her story would be an image. Richard stopped visiting because “it was too hard to see her that way.” So, I spent most evenings with her those last few months. After a while, she couldn’t remember my name, but she still smiled and patted my hand every time I sat down next to her.

When she died, her lawyer sent me a thick envelope. Inside was Aunt Evelyn’s passport, a large amount of cash, and a piece of stationary from Carnival Cruises upon which she wrote one sentence.

Gather the facts, trust your gut, and take a cruise.

I used the money for a ticket on a Norwegian Cruise. I didn’t meet a Brit from out east, but I read about every stop before we docked, in honor of Aunt Evelyn. And, once, I took a wrong turn on the third floor of the cruise ship and ran into a man whose wife was choking on a peppermint. I performed the Heimlich maneuver and saved her life.

My name and picture showed up on the front page of the cruise ship’s Daily Reporter.


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Theme and Irony Working Together

This week I read two articles that touch on two different concepts; however, both articles offer guidance on how to trim and focus my work in progress.

In the March issue of The Writer, author Terry Bain* discusses a step by step approach to finding the theme in your story. He mirrors my past (green writer) inclinations, when he says he thought his stories were finished and ready for publication, because they sounded good. For me, I always thought a story that flowed well and told a good tale was good enough. But, like Terry Bain, no one was falling over anyone else to publish my early works.

Terry Bain suggests, maybe those stories were missing a central focus, a theme. He says a writer can start a story with a theme in mind, but the writer may do better to let the story unfold and discover the theme later.

I’m a writer; I know about theme. But, it is a piece of the puzzle I tend to ignore. Typically, theme isn’t the spark that ignites my stories (except if I’m writing on Wednesdays), but it is one concept I should hold onto right now as I rework my novel.

Theme is not to be confused with plot, which moves a story forward. Terry Bain says, theme can “shine [a] flashlight on some aspect of life.” A theme doesn’t give the reader answers to world-wide problems, but it does provide another way for the reader to connect with the story.

He also says, “…knowing your theme…helps you make key decisions about what to keep and what not to keep,” and he offers some questions and suggestions to help an author clarify the theme and refine the story:

  • “Do the characters’ actions imply any universal truths?”
  • “What made you write this story in the first place?”
  • “Watch for repeated words or images. Or words and passages that strike you as particularly poignant.”
  • “Try to simplify your ideas into a few simple words.”

His last suggestion leads me straight into the next great article I read this week on The Sharp Angle.

Lydia Sharp wrote a post on Irony that complements much of what I read from Terry Bain. Lydia Sharp, however, suggests finding focus in your story via a one sentence pitch, a sentence that incorporates irony.

[I]rony,” she says, “is a writer’s best friend.” If a well-crafted sentence contains irony, the writer can reveal the complete story and hook the reader at the same time. And, that well-crafted sentence becomes crucial when the author approaches an agent.

“The irony shows the potential for an engaging story, no matter what the story is about. Without that clear potential, good luck finding someone to take an interest in your work, let alone represent it or publish it.”

I’m not ready to pitch my story. But, I want this rewrite to move along with a little more ease. Theme and Irony might be two key concepts to keep in my mind’s forefront.

If you haven’t read Terry Bain’s article, pick it up. And, if you haven’t seen Lydia Sharp’s post, click on over. I’d love to know your thoughts and hear about your experiences. Do you start your stories with a theme and a one-sentence pitch? Or do you write the story first, then flesh out the point?

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* Bain, Terry. “Theme is What Unifies Your Story.” The Writer. Mar. 2010: 21-23, 55 . Print.