The Emotional Craft of Fiction

Mar 9, 2017 by

Donald Maass is a literary editing GOD. There is no better way to say it.

I’ve now maintained a snail’s pace, using pen and stickies, to actively absorb every possible word of three of his books–Writing the Breakout Novel, Writing 21st Century Fiction–and now The Emotional Craft of Fiction.

During the fall, I took the Revision class offered by J. Suzanne Frank, the director of Southern Methodist University’s The Writer’s Path program. The go-to book Suzanne recommended for that phase of writing was Maass’ Writing 21st Century Fiction. What an amazing book it is. But….

Suzanne, whom I refer to as the Jedi Writing Master, didn’t know about this new work Maass published late last fall. Heading into back surgery last week, I had Amazon rush me a copy knowing the value of Maass’ work. Lord have mercy! At one in the morning yesterday I was photographing entire pages of Mr. Maass’ work, the part about the mirror moment–a term I’d only heard Suzanne use up until I found it in Maass’ book–and I decried she should just hand out the simple section on mirror moments where Maass says, “If you haven’t felt this emotion, essentially you don’t have a mirror moment!”

That was one of those sun-ray shining only on you during a dark, dank, cloudy day moments. My mirror moment in my present draft of The Voodoo Hill Explorer Club is heavy, but with the aide of Mr. Maass’ study suggestions it’s about to become a whole lot more intense.

Case in point: Kirk Carson, 14, has worked with his three closest friends all summer to build a the fort of his dreams in the woods off KI Sawyer AFB, (Upper Peninsula of Michigan), in 1977, largely in an effort to forget about his first true love, Rose Maxwell, dumping him for the base bully, Billy Banks, the son of the Wing Commander. While in the woods, the boys are met with a series of triumphs and setbacks, natural, self-inflicted, and mysterious–Lewis Luntz keeps saying it’s the Chippewa Haints who still roam the woods of Hiawatha–but what they don’t know is it’s a Soviet spy hiding out in the woods tracking the number of B-52s armed with nuclear weapons and by being in the woods off base, the boys have encroached on his hideout. The way it turns out, the spy has made it look like the boys will be safer under the leadership of Billy Banks and they vote to remove Kirk, and he feels their act is the ultimate in betrayals.

I have all that in decent shape in my MSS, but what I now need to do is the exercises in Maass’ The Emotional Craft of Fiction, to help my readers feel the utter agony and humiliation Kirk feels as he learns the other three have already made the decision, have invited Billy–and Rose–to their “secret” fort in the woods and everything he has worked for and dreamed of, has been ripped away from him like a scab.

Did I mention that the day before, Kirk was also humiliated by Billy Banks–coaxed into jumping off the Devils Ledge at Chimney Rock, a sixty-five foot plunge to a Little Laughing Whitefish Falls Lagoon liquid enema? Kirk has had two bad days back to back and so now it’s time to do some of the exercises Maass has on page 99–“Is your protagonist lost or seeing a way forward?” “What does it feel like to be suspended, lifted out of time, in a moment of pure being?”–I’m ready to write those answers.

The book is a GREAT read. I’ve had a dustup with some dude on Twitter the past few hours who is all bent up about marked/unmarked linguistics. You see I tried to respectfully convey to Mr. Maass that for me, he over uses the word BOTH when he links two items together with the conjunction AND. In my copy of the book, I simply began marking them out–there are that many. One of my peeves. There’s nothing wrong with the use of the word BOTH, but it becomes a visual stop sign with repeated use and many writers on my Heather Sellers inspired 101 book list do it, too. Other than that, I love Mr. Maass’ insight and his devotion to helping writers like myself learn more about the craft of fiction writing.

This is a very good book. I think, for where I am right now, the most important of the three and it could not have come along for me at a better time. Thank you, Mr. Maass. I’m looking forward to what you do next.

Oh, an by the way, Suzanne said yesterday she was jumping over to Amazon to order her own copy. Here’s the link if you’ve not already followed one of the previous: The Emotional Craft of Fiction

 

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Read Twain’s End, by Lynn Cullen

Jun 22, 2016 by

In late April I had the fortune to meet Author Lynn Cullen while attending the Alabama Book Festival in Montgomery, Alabama. She was taking part in a workshop in discussing the process of writing historical fiction when I also had the fortune to be introduced to her latest literary work, Twain’s End, (Gallery Books, an imprint of Simon & Schuster). Screen Shot 2016-06-22 at 12.14.46 PM

Since meeting Lynn, a paperback edition of her book has been released as well.

LITERARY FICTION

Lynn’s book is a 300-page magical blend of fact and fiction intertwined with dashes of literary prose so poignant that it bears the sweet smell of the hydrangeas so oft preferred by the likes of Mark Twain and more so, Sam Clemens.

As a reader, one can’t discern the difference between what actually happened and the reading between the lines that Lynn has so carefully filled in–like a brick layer setting mortar and bricks under the watchful eye of Clemen’s personal secretary, Isabel Lyon, as she helped manage the building of his famous Connecticut home, Stormfield, in Redding.

All the critical elements of storytelling are wrapped delicately in the telling of this tale of love, conflict, and self-redefinition. Lynn helps us all see, through the eyes of an omniscient narrator, the emotional and mental struggles that plagued one of America’s greatest writers–some of the same troubles we all bear even today.

There is beauty in the poetry of the writing of Lynn Cullen. Often times I found myself reaching for my iPhone to pull up a word she used to paint her imaginary scenes–words that I would then write down in my personal writer’s notebook to hopefully employ once again in a tale of my own choosing.

For its historical value or not, Twain’s End is an enjoyable read and I strongly encourage you to pick up a copy as soon as you may.

MARK TWAIN

Like all of us, Sam Clemens put on masks to create a world that was kinder and gentler than the one he apparently knew. For the writer in me, passages where she framed the thoughts and events surrounding childhood wounds Clemens alleges, provided insight that’s value can not soon be measured. Screen Shot 2016-06-22 at 12.15.13 PM

In Chapter 30, Lynn has Hellen Keller ask the most pointed question of the work: “Don’t we all make up our own worlds?”

And therein lies the heart of the message in reading this book.

In my own writing–three as yet unpublished full length works which you can read more about here–I have found relief from the pains of this life–ways to write (intended) wrongs out of existence; ways to heal pains of days that long since have passed me by that still hurt as much as paper slicing a finger’s flesh.

TWAIN’S END

Pick up a copy of Lynn Cullen’s book, Twain’s End in hardback or paperback. You will be doing yourself a mental treat.

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