The Basic Elements of Writing
By Alice H.
Dunn, 2016
In the best
writing class I took in college, the teacher said I had a “voice”. I knew she meant it as a compliment, but I
wasn’t sure just why. Did she mean that
when I wrote something, the reader could tell how I felt about it? That was the rather indistinct idea she gave
me. I have pondered what else it might
mean for the next 33 years.
Last month at
my writing group (Idaho Writer’s League, Pocatello Chapter) we had a discussion
about a shared novel chapter involving where and how the writer introduced a new
character. This writer definitely has a
voice, and he uses it in his own distinctive style, which is like no
other. The problem boiled down to two
things: point of view and logic. I was
not satisfied that we had helped him solve the problem clearly. It wouldn’t
hurt to summarize the basic meanings of a few writing terms with an eye to using
what we know about them to improve our work.
Voice—To briefly
answer the question with which I started this piece, voice is the way the
writer’s ideas, beliefs, and opinions are exposed in his/her writing. Voice contains and shapes the story. The writer’s voice should also suit the
story.
Logic—It’s pretty
plain that even though logic may be hidden in mystery, no piece of writing ends
well if logic is not eventually satisfied, case in point, Jessica Fletcher’s
wind-up at the end of every Murder She
Wrote installment.
Theme—The focus
of the piece of writing; what the story is about. Consistent focus must be maintained
throughout.
Style—The means
by which the writer uses his/her voice, such as how he selects words and puts
them in place to best suit the story. Any
writer may vary his/her style to write with local color, ornament, force,
countrification, sincerity, or artifice, or poetically, or in a journalistic
style, or in any other way he/she chooses to demonstrate his/her own style.
Point of View—Who
tells the story. This may be an omniscient narrator who knows and sees
all and can report anything logical with the final outcome of the story even if
no character knows things that are reported.
The POV may otherwise be either 1st
person or 3rd person. In first person, everything reported must be as
the narrator sees it—I saw, I heard, I did, etc. In third person, everything reported must be
what the character telling the story sees, hears, does, etc. Other characters can contribute information through
dialogue and actions that the POV character interprets. Only what is logical for the POV person to
know at the time of the scene belongs in that scene. In summary, the POV character brings
knowledge with him/her to the scene and may learn from other characters and from
observations during the scene.
If POV changes, there must be a break or a new chapter to
accommodate the new POV, and it must be a clear change. For example, in one chapter may have one
character as narrator (That means what happens in the chapter is logically
known to the person through whose eyes the action is being experienced and
reported, and he/she is referred to by name or a pronoun for that name. The next chapter might be what is happening to
a different character and is reported from his/her POV.) Or sometimes when the writer has two or three
characters with related things going on at the same time, their stories can be
told in a parallel manner by writing different sections of the same chapter,
each section from the POV of the involved character. In summary, when POV changes, the story needs
a new division, be it a clearly indicated section or a new chapter.
Person—The
essence of each character.
Structure—The way
the story develops with highs and lows, problems and solutions, building toward
the denouement and resolution.
Sequencing—Presenting
small and large events logically so that focus remains clear while creating
tension and surprises that result in suspense and desire in the reader to seek
the final outcome.
Genre or Type—The
above elements apply to writing in any
genre although much else can vary. A
genre is loosely defined as a “school of fiction”. Some genres (not an exclusive list) to
consider as to how the elements apply and what other elements might be
important to them individually are briefly described below:
Romantic—stories such as Ivanhoe
and Westward Ho. This genre includes sub-genres such as
adventure, heroic fiction, escape, historical fiction, western, stories about
far away places, and stories that pit the noble against reality.
Romance—A beautiful young woman is saved from danger by a
handsome hero. They fall in love (and
may be shown in a steamy session or two.)
Christian romance contains religious references and practices. It is usually less steamy.
Sentimental—the story emphasizes feelings and emotions. Classics such as Tristam Shandy and the Vicar
of Wakefield are examples of sentimental literature.
Realism—Dickens, Thackery, and Sinclair Lewis wrote in this
genre. It is considered the definition
of fiction: “…exhibit life in its true state… ” (Dr. Johnson, I assume Samuel.)
Naturalism—True stories told as exactly as possible. Dreiser wrote in this school. Detective stories are this genre.
Stream of consciousness—This genre attempts to represent the
flow of ideas and images through the mind.
Virginia Wolf, James Joyce, and Collette wrote in this genre.
Fantasy—Dream world (Alice
in Wonderland), not bound by the limits of real life (Gulliver’s Travels), science fiction, supernatural tales, etc.
Information
for this posting came from Johnny Payne,
Voice and Style; Ronald B. Tobias,
Theme and Strategy; James N. Frey, How to
Write a Damn Good Novel; Hugh
Holman, A Handbook to Literature, 4th
edition; and The Norton Anthology of English Literature, 4th
edition. I also refer the reader to
the excellent piece on point of view by Hemlata Vasavada in the Palouse Chapter
News of the April,2016, Leagazette of
Idaho Writer’s League. It can be found
at www.idahowritersleague.com.
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