| A Story is a Promise |
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I now have a Facebook page. A third edition of A Story is a Promise and Deep Characterization is now available. This new edition explores how some writers struggle because they make a main character an extension of the author to act out personal issues. A short video about the new work is available; a longer video is included with the book. A Story is a Promise & Deep Characterization is available using this PayPal link. The cost of $19.95 includes media mail shipping in the United States.
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| Essays on the Craft of Writing |
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| About the Author |
Listening to Your Audience
by Bill Johnson
It's easy when telling a story for a writer to consider what they want to say and how they want to say it. Some writers do this consciously (character profiles, bouncing ideas off friends, support groups). Others work intuitively, although recent brain scans suggest that some ideas people consider to be intuitive actually come from the subconscious. The trick is, your subconscious can't get your conscious brain on the line while you're focusing on a story problem. It's when you stop consciously considering a problem that your subconscious can float an idea into your conscious mind. That's why people get ideas in the shower, taking a walk, etc. (It's also a reason why you should shower, go to a movie, or take a walk when you're writing a story and feel stuck).
But, there's a deeper issue here that I think some writers are taught to avoid: what are you trying to say to your audience? I mentioned this idea once to a literary agent and story analyst, David Morgan, who was aghast at the idea that he think about his audience while writing.
My suggestion, find a quiet place to sit. Practice some kind of meditation technique, such as counting the breath or watching yourself breath. (Counting the breath means mentally counting one when you inhale, for the whole breath -- oooonnnneeee, tttttwwwwoooo when you exhale, three when you inhale, four when you exhale, then start over. To watch yourself breath, focus gently on the point between the eyebrows and just be aware of your breath coming in and out through your nostrils until your mind quiets and you have a sensation of watching yourself breath. When it hapens, you'll know.)
When your mind is quiet, visualize someone you consider to be your audience for this story. Then ask them to tell you WHY this story speaks to THEM. Let them tell YOU what your story makes them FEEL. Do not interrupt. Just listen.
This is one technique to help you recognize when you are telling a story meant to transport an audience, and not just telling a story to yourself to process your feelings or re-imagine life as you want it to be.
The message your readers get from gratuitous violence is that you're angry. Think about the times you've been around an angry person venting/fumigating about their life. Is that the kind of story YOU want to listen to for 400 pages?
Yes, our pet peeves can fuel our storytelling, but they can also have muddy paws and irritate readers when they jump up on their legs.