Geoffrey P Moore Writes

Checkout the December 2007 copy of The Writer.
Page 14 has a breakthrough story about Betty Grant Henshaw, who wrote an account of growing up in the Oklahoma Hills during the Dust Bowl and Great Depression era.
At 60 years of age she decided to try her hand at writing, took writing classes, joined a writing group and wrote stories about her life.
Then, recognizing that they did not hang together, she drew up an outline (something she said that she should have done at the beginning) and created a book length novel. She spent the next 10 years attending writing conferences, talking to agents and sending out samples of her work, only to receive rejections.
The breakthrough came when a writer friend recognized that her work told the history of the era and suggested she submit it to a university press.

Texas Tech University presses jumped at the chance to publish her memoir and provided editing support and cover design. The book 'Children of the Dust: An Okie Family Story' is a finalist for the Oklahoma Book Award.

In a similar vain, page 30 has a six-page step-by-step article by Moira Allen on "How to Write a Family History", which includes interesting sidebars on the 'crazy-quilt memoir' (an alternative to the usual chronological approach), and using birthday letters and tales from the family newsletter as source material.

Labels: craft, magazines, publishing

I think of foreshadowing as similar to planting a clue or misdirection (red herring) in a mystery story – you don’t want to be to overt when you do it. Foreshadowing is the subtle positioning of information that usually serves two (or more) purposes.
The first purpose is to provide information relevant at the part of the story that is being told.
The second purpose is to explain something that happens later, for which an explanation at that point in the story would significantly disrupt it.

Here is a simple example from my Finger of Suspicion story.

Early on, I wrote "Kelly fingers, their nails chewed to the quick,”…

The first purpose was to tell the reader about Kelly – anxious, a nail biter, not in a position to be concerned with her looks.

This is then compared (though not specifically) with the long painted fingernails of the kidnapped heiress and finally revealed as the reason Kelly retains her digit (and perhaps her life).

Franklin explains foreshadowing on page 150 of ‘Writing for Story’ as “the technique by which the writer unobtrusively inserts details early in the story that will allow him [or her] to conduct his [or her] dramatic scenes without the necessity of explaining the background details.”

Franklin says that the principle was codified by Anton Chekov as Chekov’s Law, which specifies, “if the opening of a story mentions a shotgun hanging over the mantel, then that shotgun must be fired before the story ends.”

Labels: craft

I just realized that flashforward (think of it as the opposite of flashback) is not the same as foreshadowing. I would like to expand on this using information from the book I also mentioned in the last post.

According to Jon Franklin in his book 'Writing for Story' "flashforward is a woebegotten technique that usually goes something like:

Joe chose to go to the prom with Alice instead of Sue. In the future that choice would come back again and again to haunt him. But now he was much more attracted to Ann."

Franklin says "the flashforward is most of all intrusive, because it has the effect of the writer's telling a secret, sotto voce, into the reader's ear. Like any other intrusion by the writer, the flashforward reminds the reader that the story is an illusion and thereby destroys the sense that the story is real."

He goes on to say that a professional writer may use flashforward perhaps three times in a lifetime and he suggest that as such editors and critics automatically assume the writer who uses flashforward is an amateur. If he wasn't he or she would have foreshadowed instead.

So if that's flashforward how does foreshadowing work, at least according to a Pulitzer prizewinner?

Of course it's more complicated, but I'll sort out some of Franklin's words and post again later.

Labels: craft

As I mentioned there are numerous sources of guidance for the beginning writer. In my mind one stands out above others and that is:

Writing for Story
Jon Franklin

More details at Amazon - reviews are "wow this is great" to "anyone who needs this must be a bad writer".

Guess I know where I stand.

Stay tuned for others that have a permanent place in my growing collection.

Labels: books, craft

A jumble of books on the craft of writing competes for space on my crowded bookshelves. One book never finds a resting place there.

It is possibly the best book on writing non-fiction or fiction that I have ever read and has become a go to reference work due to its simplicity of structure and working examples.

I read it cover to cover and now dip in to it for specific topics.

The book makes use of two Pulitzer Prize-winning articles written by the author, who explains in detail every aspect of their construction and execution in easy to understand terms. The author also describes his process for focusing on the key points of the story and achieving a result with which the reader can resonate.

The appendixes contain a dissection of each article with no less than 292 annotations defining the reason or purpose of each word, phrase or thought in the articles.

The small paperback book is truly a remarkable aid to understanding the craft of writing for story.

So what is this book - I'll reveal that in my next post.

Labels: books, craft