" /> storytelling: October 9, 2004 Archives

« October 7, 2004 | Main | October 10, 2004 »

October 9, 2004

chapters

Rachel commented a couple days ago that she dislikes a particular author who indulges in a lot of one sentence paragraph binges. It makes her aware of the fact that she's holding a book, which is exactly the opposite of what a storyteller is trying to accomplish. This kind of one-sentence-paragraph binge always reminds me of somebody who drives really badly. Like my father. Just when you thought he was settling in, he'd jerk the brakes. No wonder I got got car sick as a kid, and is that what you really want for your readers? Just a question.

Other people dislike really long paragraphs full of description and internal monologue. This kind of thing doesn't bother me as much, but I do sometimes have the urge to speed read through such a paragraph if the author hasn't really won me over by the time I hit one.

Now, chapters are quite a different animal.

Once upon a time I had a collection of short rules-of-thumb about writing fiction. It's long gone, lost in one move or another, or in some long ago computer migration. I remember a few of them, although I don't remember who said them. Here's one that has always stuck in my mind: Strongest word at the end of the sentence. Strongest sentence at the end of the paragraph. Strong paragraph at the end of the chapter. Sounds good, but it's like all generalizations: true, except when it isn't. The first problem is defining and identifying strong, something I'm not going to try to do here.

You could look at a wide range of authors and try to get a feel for how chapters work, and you would find similarities. A natural break in the rhythm of the story is the most common place to end one chapter and start another. Some authors do the exact opposite, and break a chapter at the high point in the action. This is a matter of personal taste, I think. The right rule of thumb here might be: you can do anything, if you do it well enough to take the reader along for the ride. Ann Patchett's The Magician's Assistant takes the huge step of not using chapter breaks at all. The reason I know this works (for me, at least) is that I didn't even notice. I was so caught up in the story that I had read the novel twice before somebody pointed it out to me: no chapter breaks. Can everybody pull this off? I would guess the answer is, no. I don't think I could.

The hardest part might not be deciding where to break the chapter, but what the last note of the movement should be. There's a particular kind of ringing tone that I reach for at the end of a chapter, whether it's dialogue or narration. An awkwardly ended paragraph can work just like that heavy foot on the brake, and jar you out of the story. I'm going to go looking for sentences that end chapters well, and I'll try to get back here with some samples tomorrow.

these people recognize excellent storytelling

farscape_pkw_120x600 I'm talking about Farscape, of course and a great article in the Chicago Tribune (the paper I grew up reading) here. You have to register. It's worth it. Like so many good links, this one is from Robyn.

Here's a quote from the article, part of an interview with the radiant Claudia Black, who plays the ueber-radiant Aeryn Sun:

I also hope she's empowering to watch. I understand that sex on TV does sell. But they were really willing to let me protect her integrity. It was all right if she was androgynous, we were allowed to move beyond stereotypes.

They say that sex is in the mind, and that's how Aeryn and Crichton are together, it's the stuff that's left unsaid and the stuff before the kiss, the gray area, the subtext. If you're obvious, you're taking away from the audience's opportunity to fill in the blanks and identify with the characters on their own terms.

You see, storytelling really does transcend genre and medium boundaries. These are exactly the same issues that go into writing a strong female character, and what I hope to accomplish with the women who populate my work. It's a treat to run into actors and directors and screenwriters who articulate these issues so very well.

And of course, lest you forget: The four hour miniseries

Farscape:

The Peacekeeper Wars

is just around the corner. On

Sci-Fi Channel

October 17 & 18

9 pm (8 pm central)

Remember, I'm willing to reward people who sit down to watch it. Just haven't figured out how, yet.