movement

WIG&TSSIP: The Focusing Power of POV

December 12, 2011 By Mark 1 Comment

The Ditchwalk Book Club is reading and discussing Rust Hills’ seminal work, Writing in General and the Short Story in Particular. Announcement here. Overview here. Tag here.

Given the relationship between point of view and movement of character that Hills pointed out in the previous section, it may seem as if a rule has been laid down. In a sense I guess that’s true, but I think it’s less a rule of fiction than a fact. In any case, just because there’s an inviolate relationship between point of view and character movement, that doesn’t mean you have to slave your stories to that relationship from the get-go. As Hills notes:

But then, in good stories by good writers, one often sees a point-of-view method that started off “wrong” — or at least indirectly — being worked around to focus on the real consequences of the action.

Hills gives excellent examples from Hemingway’s The Killers, and A Clean, Well-Lighted Place, and D.H. Lawrence’s The Horse Dealer’s Daughter. If you want to see the focusing power of point of view first hand, it’s worth reading those stories and comparing his notes with your own experience as a reader.

Whether those particular authors specifically thought about exploiting the focusing power of point of view or not, the effect is still there because the point of view character is necessarily the vessel for movement that defines any story. You can fight it or go with it, but you can’t change that fact:

And as far as the writer is concerned, we’ve seen that even when an author has misconceived his story, and attempted to tell it from the point of view on an unmoved character, he often finds that things begin to change on him. Despite the author’s intentions, the point-of-view character will tend to occupy the center of his stage…

As a practical matter, the focusing power of point of view in fiction seems to be an artifact of fiction’s point-of-view flexibility. In first-person fiction, where the point of view is fixed to and never shifts from the narrator, the moved character and the point of view character are necessarily the same. It’s only when the multiplicity of third-person points of view come into play that the moved character and the point of view character have the potential to be confused by the author — particularly if there is a central character (Gatsby, say) who occupies neither role.

What’s at stake in all this is not simply the coherence of your work, but its force and effectiveness. If you want to write an epic third-person story that “bounces” between characters all over the globe you can do so with full confidence that story and reader will converge at the end on the point-of-view character. You can even write a “scenic” epic that avoids a point-of-view character or narrator all together, but in choosing to do so you leave storytelling power and effectiveness on the table. If storytelling is about movement of character, and movement of character is tied to point of view, and if the reader is going to impute point of view even if you try to withhold it, then you’re probably better off — particularly as a beginning writer — not fighting those connections.

Craft is not a constraint. As a writer you can always do what you want to do, but part of doing what you want to do is knowing the effect of the choices you make. In the same way that learning to draw cubes and spheres and perspective lines augments an artist’s work, even if that artist chooses to focus on pure abstraction, mastering storytelling craft gives you more ability to flex your writing muscles.

Next up: Monologues, and the Pathological First Person.

— Mark Barrett

WIG&TSSIP: The “Moved” Character and POV

November 30, 2011 By Mark Leave a Comment

The Ditchwalk Book Club is reading and discussing Rust Hills’ seminal work, Writing in General and the Short Story in Particular. Announcement here. Overview here. Tag here.

It is a premise of Hills’ book that movement of character is synonymous with story. The degree of demonstrated movement may be momentous or barely a whisper, but through this change we perceive that something has happened in a work of fiction. It stands to reason, then, that if authors want to generate as much artistic and emotional power as possible from movement of character, they will probably give the genesis and resolution of that movement considerable authorial attention.

Of all the attention-focusing techniques available to you as a storyteller, none is greater than point of view. Scene selection, setting, tone and any other aspect of story — including even characterization itself — can be emphasized or minimized in service of your authorial goals, but point of view is global. Where all other aspects of story, in proportion, affect the unity and effectiveness of a work, point of view determines how we perceive that unity and effectiveness. Choose the wrong setting and you may dampen the effect of your story. Choose the wrong point of view and you may destroy it completely.

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WIG&TSSIP: Middle

September 15, 2011 By Mark Leave a Comment

The Ditchwalk Book Club is reading and discussing Rust Hills’ seminal work, Writing in General and the Short Story in Particular. Announcement here. Overview here. Tag here.

What is there to say about the middle of a story that hasn’t been said a thousand times? Little. So little, in fact, that while Hills’ previous section on Beginning runs six full pages, this section barely commands two pages, and a chunk of that is devoted to a diagram.

If the beginning of a story introduces a situation, then it’s fairly clear the middle will expand on that premise. Despite the obviousness of this continuity, no effort has been spared analyzing the alchemy that goes on in the middle of a story so as to improve the audience’s experience — if not also the bank accounts of the analysts. Whether armed with diagrams, buzzwords or paradigms, proponents of formulaic approaches feast on the middle because it is the meaty bulk connecting beginning to end. Whatever your genre, politics, religion, or favorite ice cream flavor, there’s a time-tested yet cutting-edge storytelling formula just for you — buy now! (All you have to do is add a plot, characters, dialogue, description, setting, tone, mood and your own distinctive voice.)

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WIG&TSSIP: Character Shift vs. Movement

June 4, 2011 By Mark 1 Comment

The Ditchwalk Book Club is reading and discussing Rust Hills’ seminal work, Writing in General and the Short Story in Particular. Announcement here. Overview here. Tag here.

The complete title of this section is, The Character Shift, as against Movement of Character. The premise, as suggested in the previous section, is that merely demonstrating change in a character is not enough. On some level, for the intended audience, that change also needs to be convincing.

For Hills, however, that distinction is just the starting point:

One way of detecting the difference between the character shift and movement of character is by considering the function the character change performs in the narrative. A character shift usually permits, rather than causes, something to happen.

This may seem a rather banal observation. In fact, I think it’s one of the most useful observations anyone could make about storytelling, and particularly so for people who are new to the craft. Not only does this distinction generally cleave bad writing from good by simple rule, it provides an equally simple test for detecting the problem. Does your character change as a result of what happens, or to facilitate what happens? [ Read more ]

WIG&TSSIP: Movement of Character

May 30, 2011 By Mark Leave a Comment

The Ditchwalk Book Club is reading and discussing Rust Hills’ seminal work, Writing in General and the Short Story in Particular. Announcement here. Overview here. Tag here.

Sooner or later every how-to book about fiction talks about movement of character. The specific word used to describe the concept varies — growth, change, development — but they all spring from the same source: the idea that a character (most commonly the main character) will evolve as events unfold.

In previous sections Hills has talked about the idea and importance of change over the course of a story, but here he drills down to a more basic question. Is change in a character actual change, or simply the revelation of some “‘side’ of the personality” that has been previously unacknowledged? From the reader’s point of view it may not matter, but from the author’s point of view the question is far from academic. [ Read more ]