Your Blood, Sweat and Tears – Part II
Posted on Tuesday, May 31, 2011 at 9:46 AM
If you wish your reader to remember -- it takes Flesh-Mind-Spirit
By
Peter P. Jacobi
We continue the "Flesh-Mind-Spirit" theme
that served as subject of a recent writers conference talk and that
contains lessons I wanted also to share with you. Last month, "Flesh"
was our clothesline word for duties/responsibilities we must reflect in
our writing. "Mind" and "Spirit" gain our attention in this column.
Mind's
"M" introduces MEANING
What do you want your reader
to get out of your story? Is your developing masterpiece purely on a
single plane -- a simple narrative, without additional levels of
suggestiveness? Or is it multi-layered, a weave of events, characters,
and significances to be pondered, even argued about?
Either way,
strive for a clarity that befriends the readers, that supplies a reason
for the writer/reader bond. There may, of course, be surprises and
puzzles galore in the "what" and "who" of your story, but the "why" for
it should become swiftly evident: the why you've done it and the why I,
your reader, should read it.
E.B. White preached: "Writing is an
act of faith, not a trick of grammar ... If you write, you must believe
in the truth and worth of the scrawl, in the ability of the reader to
receive and decode the message."
Reader commitment must be
earned. The reader deserves benefits to compensate for the time and
attention he or she gave you.
"I" introduces INTELLIGENCE
I'm
talking here about the sort of intelligence that the Central
Intelligence Agency might want to keep secret: deep down, significant,
no one knows kind of information. Now, I better make clear that I don't
really mean this in a CIA/spies and spying manner, in a dark, dangerous,
subversive sabotage sort of form.
I just mean you've gathered
material that makes me feel as if I've been briefed, as if I'm in on the
know. You've given me the sort of stuff that I couldn't have gained from
another source because through your research and conceptualization,
you've unearthed the "isn't-that-amazing, I-didn't-know-that,
I-feel-special-for-now-knowing-it" quantity and quality of substance. As
a result, I feel like an insider.
"N" is for NUANCE
It's
for refinement, for polish, for finding balances. There are moments when
you shout, when you flamboyantly exhibit your verbal skills, when you
show off. There need be others in which a quieter atmosphere is
generated, in which subtlety takes over, in which the mood turns
introspective, atmospheric, delicate, unobtrusive, even elusive.
Nuance
refers to limits, recognizing how far to go, where and how to hold back,
shifting the noise level in your copy so that gentler essences can be
revealed, essences that would be squelched by tumultuous language or
circus gimmicks.
Reconsideration promotes nuance. Editing
promotes nuance. Anne Lamott reminds us, "Writing is about hypnotizing
yourself into believing in yourself, getting some work done, then
unhypnotizing yourself and going over the material coldly. There will be
many mistakes, many things to take out and others that need to be
added." Nuance may come with afterthought.
"D" is for
DIRECTION
Have you exhibited a sense of direction, a clearly
followable path for your story? Have you bestowed a design on your
piece, a structure upon which to build, an architecture that commands
attention? Have you tried to give the reader a perceivable destination
and the feel of moving forward?
Direction leads to order and
cohesion, to continuity and flow, each critical to the success of your
writing.
FLESH and MIND: we're getting there. SPIRIT remains for
the completion of our task.
"S" leads off, representing SONG
Eudora
Welty recalls, "Ever since I was first read to, then started reading to
myself, there has never been a line read that I didn't hear."
You
are composers using words as notes. Whether you seek lyricism and
harmony or dissonance and discord, you compose melodies of some sort.
You use pitch and rhythm and tonal colors. You orchestrate in simple
lines or fugal arrangements. You employ varying speeds and accents and
pauses. You build toward climaxes and retreat from them and build again.
You make music. And because your music comes in words, because there's a
message in your music, when you write, you truly are approximating the
creation of a song.
Make music, I urge you.
"P"
introduces the very important PERSONALITY
Personality of and
in your writing, both marking the "you" in your work and the individual
personality you're able to give to the characters and settings and
situations you're writing about.
Personality. Voice. Raymond
Carver says it's "akin to style ... but it isn't style alone. It is the
writer's particular and unmistakable signature on everything he writes.
It is his world and no other ... a writer who has some special way of
looking at things and who gives artistic expression to that way of
looking."
I'm talking about a singularity, an individuality,
the finding of the "you" in your work and the willingness to freely use
the found "you." You are or should be the distinguishing factor that
separates your finished product from that of someone else. You are the
secret ingredient, the cause for uniqueness in your writing.
The
reader looks for distinctiveness in language and originality of
thinking. Are you offering these?
"I" is for IMAGINATION
That
is part of the "you" I've just spoken of. As playwright Christopher Fry
put it: "The first of our senses which we should take care never to let
rust through disuse is that sixth sense, the imagination….I mean the
wide open eye which leads us always to see the truth more vividly, to
apprehend more broadly, to concern ourselves more deeply, to be, all our
life long, sensitive and awake to the powers and responsibilities given
to us as human beings."
Fry reminds us we all have it. It is
what makes us human. But you, the creative person, to be fully creative,
best use that imagination of yours to the nth degree. Painter Edward
Hopper said: "No amount of skillful invention can replace the essential
element of the imagination."
"R" is for RESONANCE and
RELEVANCE
Two different yet, in this instance, tied-together
words.
If what and how you write does not resonate with your
reader, if it does not reverberate, ring, vibrate, then -- no matter how
important to you is your material -- it will fail to be relevant. To be
relevant, it must first draw the reader in. For that to happen, what you
write has to activate the reader's sensibilities, his or her desire to
be touched, to be moved in some way: to laugh, to feel romantic, to
weep, to be thrilled, to wonder, to be motivated into action, to
believe, to be angry, to be calmed, to be uplifted.
"I"
introduces INSPIRATION
A writer who has inspired me, E.B.
White, admonished the tribe: "A writer must reflect and interpret his
society, his world. He must also provide inspiration and guidance and
challenge. Much writing today strikes me as deprecating, destructive,
and angry. There are good reasons for anger, and I have nothing against
anger. But I think some writers have lost their sense of proportion,
their sense of humor, and their sense of appreciation... I think I would
lose what little value I may have as a writer if I were to refuse, as a
matter of principle, to accept the warming rays of the sun, and to
report them whenever, and if ever, they happen to strike me."
Keeping
our sense of proportion, humor, and appreciation: that's worth
remembering.
"T" for TRANSPORT
If you
have contributed all of the above, then what you have shaped so
diligently and lovingly will provide transport. It will radiate forth.
It will captivate, elevate, provoke, enchant, stir. It will communicate.
So
now, are you prepared to sacrifice blood, sweat, and tears morning,
noon, and night? Are you prepared to invest your flesh, mind, and spirit?
It
is all a matter of focus, language, emphasis, substance, honesty,
meaning, intelligence, nuance, direction, song, personality,
imagination, resonance and relevance, inspiration, and transport.
These
are musts that I do not ask of you. These are musts you take upon
yourself if you would write seriously and productively and proficiently,
if you would give your reader something to remember.
Peter P.
Jacobi is a Professor Emeritus at Indiana University. He is a writing
and editing consultant for numerous associations and magazines, speech
coach, and workshop leader for various institutions and corporations. He
can be reached at 812-334-0063.
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