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*In this issue... **The Writer’s Thumbprint*
============================================================
*The Writer’s Thumbprint*
*March 2016 Newsletter*
*by Bruce L. Cook*
When you write fiction, what will your readers remember?
Will you simply take a day in your life and describe it? If you so
love your prose, that might
be fulfilling, and perhaps the reader can use the account to glean useful
wisdom or simply experience a moment of nostalgia or the euphoria of arm-chair
travel. This can happen, for example in a 1957 character short story like “I
Stand Here Ironing” by Tillie Olsen, or when reading stream-of-consciousness
like Katherine Anne Porter’s ”The Cracked Looking-Glass,” from 1933.
However, depending on your view of the reader’s importance in your
work, you could take
the trouble of selecting a character, background or situation that might somehow
improve the reader’s life or outlook. But this brings to mind the
abundance of nonfiction self-help writings that populate so many
shelves in bookstores.
Still more difficult, the writer might construct a story plan,
providing conflict,
problems, and resolution to bring home a socially significant truth. This is
the most demanding task is putting a “hook” into imagination and, from that
point, constructing the plan.
For example, a writer may want to write a story about a boy and his
dog – Walt Disney’s old
favorite (for example his film Shaggy Dog, 1959). Those characters can be the
hook, for an attractive subject can bring readers. However, from that point the
writer needs to decide what the story will prove about the boy, the
boy’s relationship
or his dog, or social or environmental impact on the boy and his dog. (Of
course, there are other options.)
Once that decision is made, the writer needs to begin with a scene and
move along,
placing more and more problems in the way of the boy, and finally have him
succeed or fail in his relationship to other elements.
Here, to me, lies the actual *thumbprint* of the writer. Here is the writer’s
experience, which comes to bear on the scenes. Experience is the best guide. (In
cases where experience is lacking, I’ve even found myself forming a story on
daily life events, actually plugging situations and thoughts in when they
relate to the plot.) Otherwise, a stream-of-consciousness effect might result,
and the purpose of the story would disappear.
When the boy, dog, and events motivate actions in the story, there
comes a time when everything
needs to end. This can be the most difficult time of all because the writer has
to unite all the threads he or she has already woven.
The writer shows respect for the reader when he or she goes to the
trouble to construct
such a narrative. Further, when discovering that the story is
worthwhile, readers
can develop loyalty and respect for the writer.
Such is the true thumbprint of fiction writing.
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Publishing Emerging Writers
March 2016 (No. 1703)
To review our archive of past issues (sixteen years, every month), go to
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