Steinbeck

The Writer You Are

June 15, 2011 By Mark Leave a Comment

In the previous post I commented on a section of Writing in General and the Short Story in Particular in which Rust Hills differentiated between slick fiction and quality fiction. While I think Hills is unnecessarily dismissive of entertainment for entertainment’s sake, just as he is clearly invested in art for art’s sake, I think his condemnation of slick fiction is valid because slick fiction is bad craft.

Craft and Effectiveness
The problem with my own condemnation is that it’s no different from Hills’: it expresses a personal preference. Like Hills I can make a compelling case for craft (doing so is one of the missions of Ditchwalk) but at the end of the day I’m still advocating for the kind of storytelling I care about.

Despite his personal preference for literary fiction, however, Hills bases his advocacy on proven craft, not bias. By the same token, while I’m open to a wider spectrum of storytelling, I believe that craft knowledge allows authors to make conscious, informed choices about the stories they intend to write, which in turn increases the likelihood that those stories will impact readers in the intended way. To the extent that learning craft requires more effort — at least at the apprentice stage — the return on investment is an increase in the likelihood of narrative success. Whether you use craft to create better entertainment or better literature (if we really need to bifurcate), the Ditchwalk definition of better — like Hills’ definition of better — is that more readers will be pleased with, or appropriately affected by, the end result.

Still, it’s inarguable that there are plenty of readers who are perfectly happy with the effects of demonstrably bad craft. If stories premised on a character shift or deus ex machina plotting thrill you, I can’t claim you shouldn’t be thrilled. I can point out how the authors of those stories jerked you around or cheated you or gave you less than they might have, but I can’t tell you that you didn’t feel the enjoyment you felt.

So the very charge I respectfully level at Hills — that he’s unnecessarily elitist — is one that can be leveled at me. Yet even as I freely acknowledge that taste and sensibility play a part in the appreciation of storytelling, I refuse to budge from my position — which is also Hills’ position — that more knowledge of craft necessarily improves your chance of successfully telling a particular story. [ Read more ]

Reviewing Fiction

October 16, 2009 By Mark 4 Comments

Aspiring to Art
The question of reviewing fiction is a complicated one, in part because of the complexity of the task, and in part because the task is often supplanted by the blood sport of judging merit as opposed to execution. In my own life as a writer and storyteller I wrestled with these issues at a relatively young age (in college), while coming to terms with how I might be able to judge my own work in-process and upon completion. This need was precipitated by the realization that it was frighteningly easy (here you should see white knuckles crushing the armrests of a wildly-buffeting airliner) to lose one’s way while working on a story.

An obvious and eternal reference point for any storyteller is the beacon of art. To write for art, to aspire to art, and someday to become art is a road rutted with famous followers. Like many (if not most) storytellers, I would like my work — at least my non-commercial work, but maybe even that as well — to be accepted and seen as art.

But therein lies the flaw. To write for art is to grant others the right to determine the merit of your work at a moment in time, which exposes you to the fads of that moment. Even the most delinquent student of history quickly learns that artistic movements come and go like fashion lines, and that the arbiters of such movements often have more interest in their own personal, social and business agendas than in the value, merit or accomplishment of the works on display. [ Read more ]