Showing posts with label constrained writing. Show all posts
Showing posts with label constrained writing. Show all posts

14 September 2020

Rules of the Game


Before the lockdown, I played guitar and sang at three local open mic venues regularly. About a dozen other people played those venues, too, and I rated myself near the bottom as both a musician and singer. Now that I occasionally do Zoom performances with several of those same people, I feel better about myself. I've learned to select songs that work well as solo acoustic pieces in my particular style.

A few weeks ago, a very good jazz player--one of the few who sings even worse than I do--performed a song it took me two verses to recognize because he changed both the melody and the rhythm so much that they no longer matched the mood or content of the song. It was Woody Guthrie's "This Land is Your Land," and he combined a guttural growl reminiscent of Charley Patton with guitar riffs worthy of Les Paul, Pat Martino, and Joe Pass. My microphone was muted so he didn't hear my reaction. Luckily.

My first memory of such a gaffe was Jose Feleciano's unfortunate treatment of the Doors' "Light My Fire." I was never fanatical about the Doors, but Feleciano turned a rock song about hot sex into a lounge ballad about...something. The only other disaster that gives this one competition is Frijid Pink's heavy-metal version of "The House of the Rising Sun." You can find it on YouTube, but don't say I didn't warn you.
The first ten minutes of a play teach the audience how to watch what's going on. Will the lighting, sound, and acting be realistic or avant garde? Will the actors speak to each other or directly to the audience? Is the set realistic or abstract? Is the language formal, poetic, or profane? Years ago, I saw a production of Steel Magnolias in which M'Lynn's final monologue (Spoiler alert) about watching her daughter die featured the rest of the cast and set disappearing into darkness while the actress playing M'Lynn stepped into a spotlight. The entire play to that point used naturalistic lighting, and this shift pulled the actress out of the story and the audience out of the event. Two other directors and a light designer saw the performance along with me, and we agreed it was the kind of mistake a first-time director would make. We found out later that we were correct.
If a story is comedy, we need to understand what the author means by "funny." Chuck Palahniuk and Christopher Durang may not be everyone's shot of bourbon. I directed Who's Afraid of Virginia Woolf ?years ago with two actors whose rapport and timing turned the first act into a routine worthy of Abbott and Costello. It made the play's darker turns later even more disturbing. I tried to explain this to someone who didn't see the production, and he was appalled that I thought anything in the play was funny.

These dissonances occur in stories, too. Every work--poem, short story, novel, essay, or play--has its own rules and boundaries, and the writer has to recognize them as he or she creates them. Science fiction on a different world needs to explain the crucial differences, maybe gradually, or maybe (Heaven help us) in an early information dump. Think of the opening scene of Huxley's Brave New World. A cozy mystery needs to establish the language and lack of graphic detail before we start holding the characters to the wrong standard. A romance needs to introduce at least one of the potential lovers quickly so we know who to care about (or not).
Once you've established those rules, follow them. Otherwise, the book, story or song becomes an incoherent mess. If you give us 25 pages of people who only say "Gosh" or "Drat" and put their beer glasses on coasters, we are in a certain world. When the heroine and the handsome stranger get together 200 pages later, we'll be shocked to see them naked and the woman displaying certain skills and using specific vocabulary to explain what she wants and enjoys. If the story includes a murder, we won't be looking for a graphic medical description of the damage, either.

The Beatles who wrote and performed "I Want to Hold Your Hand" are younger and less worldly than the quartet who gave us "Why Don't We Do It in the Road?" We had several years to watch them grow and experiment so the second one was less a shock. The Rolling Stones and The Pretty Things always had a different image. Later on, so did the Sex Pistols. And with a name like that, who would expect the group to release "Ave Maria" as a single?
Be careful what you promise a reader. You'll have to deliver it.

18 March 2013

no, No, NO!



Here's a picture of my reaction to being told, "No."

Color that child's hair red and it could be a photo of a young Fran. My mom used to say she was glad I was an easy-going baby who didn't often need correction because I didn't like being told what to do. Now my hair is platinum blonde (okay, it's white), and I still don't especially like being bossed around.


Leigh's "Professional Tips: To Be or Not" on March 3, 2013, set me to thinking about writing rules, violations, and lots of other aspects of writing and teaching it. Does anyone remember e e cummings? That poet who refused to use capitalization or punctuation was my first encounter with writers who intentionally break the rules.

About the Letter "E"

In 1939, Ernest Vincent Wright published Gadsby: Champion of Youth, a 50,110-word novel without a single "e" (apparently his name was exempt). In 1969, Georges Peree produced La Disparition, which omitted all "e's" in both the original French and the English translation, A Void.

That intrigued me so much that I thought about trying it with something I'd written. Being too lazy to seek something to translate to Non-E-Lish, I tried it with the opening of this blog:

Original Line: Here's a picture of my reaction to being told , "No."

Same Thought, Written Without 'E's: This photo shows how I look if I'm told, "No."

Original Paragraph: Color that child's hair red and it could be a photo of a young Fran. My mom used to say she was glad I was an easy-going baby who didn't often need correction because I didn't like being told what to do. Now my hair is platinum blonde (okay, it's white) and I still don't especially like being bossed around.

Same Thoughts, No E's: Color that child's hair titian and that photo could stand for a young Fran. My mom always said, "I'm glad my child was a good kid who didn't command lots of modification, as Fran couldn't stand disapproving words." Now my hair is so light that it's platinum (okay, it's bright as snow) and I still don't allow anybody to boss this old gal around.

That wasn't so difficult. Try it yourself, but please don't cheat and write the original with the conversion in mind or change any words in the original to make it easier.
I'm going to move on now because all the E's gathered around my keyboard are beginning to threaten me. One has even vowed to set my computer on fire if I don't let them back in.


About Verbs

In 2004, Michel Thaler wrote Le Train de Nulle Part (The Train from Nowhere.) This 233-page novel has plot, character, and action, but not a single verb! Thaler says, "The verb is like a weed in a field of flowers. You have to get rid of it to allow the flowers to grow and flourish. Take away the verbs and the language speaks for itself." I would have preferred to read that statement minus the verbs and see if the same message was delivered.

Leigh told us about those who want to abandon the verb "to be." Thaler took that to the extreme, but let's take a look at that nasty old verb. First, I've dealt with adults in writers' groups who weren't quite sure exactly which words are forms of the verb "to be."

So here's a reminder though I'm sure none of us need it:

ENGLISH CONJUGATION OF THE VERB "to be"

Grammatical conjugation of a verb requires making a systematic list of all forms of the verb for each person, number, and tense. The verb "to be" is the most irregular verb in English. The simple conjugation of the verb to be is as follows:

Conjugations
• Infinitive: be
• Present Participle: being
• Past participle: been
• Future: will (or shall) be
Person,Number
Present Past
• 1st, singularIamwas
• 2nd, singularyouarewere
• 3rd, singularhe/she/itiswas
• 1st, pluralwearewere
• 2nd, pluralyouarewere
• 3rd, pluraltheyarewere

If you narrow those red words down by deleting repetitions, there are only eight of them: be, being, been, am, are, is, was, and were. Twice I've been in writers' groups with PASSIVE VOICE FREAKS. PVF's are people who go through other authors' sample manuscript pages and circle every one of those eight words and write PASSIVE VOICE and an ugly frowny face over them. The PVF's then look up with an expression that's uglier than the frowny face and makes me want to slap them, which I don't do because, as I've told you before, I am a sweet old southern lady.

Leigh wrote, "In particular, most advocates of removing most or all forms of the verb 'to be' point out it virtually eliminates passive voice."

Personally, I'd prefer the PVF's learn to correctly identify as passive only the structures where the verb "to be" is used as an auxiliary (known as "helping" until third grade) verb making the subject of the predicate the receiver of the action opposed to the giver of the action.

Example:
• The gun was fired by Fran who was ticked off by the PVF.
"Was fired" is passive as is "was ticked off" which makes this doubly less effective than the active:
• Fran fired the gun at the PVF who had pi _ _ ed her off.

Uh-oh! My samples are politically incorrect with the current gun issues in America. Please change "gun was fired" to "knife was thrown" and change "fired the gun" to "threw the knife."

Most of the time forms of "to be" are used as linking verbs showing condition or existence of the subject. If they were good enough for Edgar Allan Poe, Stephen King, Jeffrey Deaver, and Harlan Coben, they're good enough for me.

My apologies if this turned into an elementary school English lesson. I started out aiming to tell you how I feel about some of the rules for writers, so I'll finish up this way:


Rules for Writers and How I Use Them

Even if lightning strikes the protatonist in the first chapter, I NEVER OPEN A BOOK WITH THE WEATHER--unless it's really important!

I NEVER write PROLOGUES--unless they're necessary!

I ALWAYS use "SAID" to carry dialogue--unless scream, moan, or whisper works better!

I ABSOLUTELY, REALLY, HARDLY ever use adverbs!

I'd run away like a greased pig at the county fair before I'd write regionally!

I avoid detailed descriptions of my characters, but my readers WANT TO KNOW about Callie's underwear!!!.

I NEVER use exclamation points because the rule says, "sparingly, no more than two or three per 100,000 words," and my books average 85,000 words, so I never get to use one.


I DO, HOWEVER, ADHERE TO THE "DOWN AND UP" RULE:


Write it DOWN, then clean it UP!




What about you? Do you have any rules you obey or any you ignore? What bothers you about rules for writers?


Until we meet again, take care of… YOU!

03 March 2013

Professional Tips: To Be or Not


G. Perec: A Void
Dale Andrews' recent article on Constrained Writing sent me on tangential research of the topic. My peripatetic perambulations landed me on a page about É, E′, or English′, also called E-Prime. Curious, I perused Elaine Johnson's article and expanded my research to others.

Proponents of constrained writing argue it improves one's writing. In the long term I agree, but readers must note a huge caveat: An audience should view lipograms and other forms of constrained writing as exercises. Such exercises ought to improve writing that follows, because history will remember few examples of non-poetic constrained writing as masterpieces, Gravity's Rainbow notwithstanding. But, gather 'round, lads and lassies, and hear me out.

Thé Primé of Miss Jéan Brodié

É, a kind of constrained writing, proposes immediate improvement, which other subsets of constrained writing cannot offer. E-Prime adherents wish to restrict, even remove forms of 'to be' from general usage. That is to say, the impetus of É is to shun sentences exactly like this one. In other words, E-Primers avoid the use of is, was, be, been, am, are, etc. Most further advocate avoiding contractions of these forms: I'm, you're, he's… some that are ambiguous in tense. (Does you're imply 'you are' or 'you were'? Does he's imply 'he is' or 'he was'?)

That struck me as a similar goal of professional writers, to use active voice and action verbs wherever possible. Could we improve our writing by listening to academics, forming a discipline of Not to Be??

Ésay Comé, Ésay Go


At first blush, the professors' results didn't appear promising. I persisted, reading Korzybski and Kellogg and Kenyon, yet 8 out of 10 papers came off as linguistically technical or the writing gagged the reader with run-on verbosity and excessively dense pluperfection. Still, I thought the idea merited further attention.

I like to think I'd already progressed well in weaning myself off the teat of 'isism' but in fact, is, was, and their weakish siblings prove addictive. You may notice that other than the deliberate sentence in the second paragraph, I'm trying to avoid 'be' words, but does the pluperfect "I'm" in this sentence violate the letter of the É law? I still don't know.
Spiderman 3
© Marvel, Stan Lee

Écad, Égad

David Bourland argues that changing our language can change our thinking. This sounds like a corollary of one of the sayings from my father: "If you can control the language of people, you can control people." I don't recall whether he was referring to Fox News at the time, but he often made non-intuitive statements that would later prove accurate. Bourland goes on to make the case for É.

Éfficient, Élegant, Égalitarian

In particular, most advocates of É point out it virtually eliminates passive voice. They maintain É forces a writer to take responsibility for not only one's own actions, but the actions of others– characters in the case of novelists. Saying "John was hit by a baseball" doesn't suffice. An É author must state who hit John with a baseball.

Robert Anton Wilson
suggests the word 'is' makes it easy for politicians and advertisers to toy with the public through misleading prose:
  • "Guinness is good for you." In what way?
  • "A diamond is forever." Forever what?
  • "Coke is it." Huh?
Ken Starr's grilling of Bill Clinton contained many embarrassing moments on both sides, but I remember one particular huh moment from the President: "It depends on what the definition of 'is' is." Had the parties studied É, they could have avoided that episode– or not.

Ralph E. Kenyon Jr. goes on to discuss 'cheating' (my term, not his). By example, he says the sentence "I found the movie more rewarding than the novel" is an abuse of É using simple substitution: "I found the movie (to be) more rewarding than (I found) the novel (to be)." He suggests "I liked the movie better than I liked the novel." Mmm… I half agree.

Émerging, Énlivening


Many of the É proponents throw themselves wholehearted into using É in their daily work. Fine, but some seem to forget active voice and action verbs form only a part of good writing. And, like religion and politics, absolutes can prove undesirable. Sometimes we want to use passive voice. In rare instances, 'is' or 'was' might be the perfect word.

But overall, if we treat E-prime as an exercise, we can learn something from these linguistic professionals. Don't get bogged down by their graphs, trees, or the dense and dormant prose: simply word sentences to avoid forms of 'to be'. One writer says he 'E-prunes' in moderation, rather than E-primes.

Looking back, I'm amazed how many examples of is, was, were, etc crept into writing this article. Knowing I should attempt to set an example, I've edited most of the offending sentences. You don't have the privilege (or burden) of seeing the original, but yes, reworking those sentences helped.

Try it with your work and let us know your results.

Thé Énd

26 February 2013

Constrained Writing


[C]onstrained writing designates a form of literary production in which the writer submits his or her text to specific formal (and to a lesser extent also thematic) constraints. On the one hand, such constraints function as boundaries that explicitly limit the possible realizations of a text in some respects. On the other hand, those constraints are not primarily intended as strict limitations but rather as creative stimuli for the artistic process; they reduce the endless possibilities—the common, rather naive association of literature with boundless freedom and complete originality—and thus contribute to a stronger focus on the mechanisms on which genuine literature should be based: formal control and a maximal artistic concentration within an appropriate frame of constraints.
Constrained Writing, Creative Writing,
© De Geest and Goric,
PoetryToday 31:1 (Spring 2010)

    Although we may not consciously be aware of it, everyone who writes as a vocation or an avocation does so subject to constraints.  Most fundamental are the constraints imposed by language, accepted style, and grammar.  We all learn certain rules and are taught to adhere to them.  We are expected to know when to use “which” and when to use “that.”   If we vary the rules in a given instance, it is supposed to be only with foreknowledge of the rule and with a good reason for varying it, such as to avoid contextual awkwardness.  (Remember Winston Churchill’s famous observation that “ending a sentence in a preposition is something up with which I shall not put?”)

    The types of constrained writing referenced in the above quote, however, go further.  Beyond the universal constraints, which apply to us all, authors also may find themselves subject to genre, or thematic constraints.  As the article referenced above notes, such is the case with romance novels, which tend to follow a fairly established formula.  So, too, the “fair play” mystery, which is expected to rigorously adhere to the rule that all clues must be fairly presented to the reader in advance of the solution. And, as discussed in previous columns, anyone writing pastiches – stories in which another author’s character is used – practices even a higher degree of constrained writing, attempting to capture the characters, the style, and the approach of the original author.

    So, like all limiting principles, constrained writing is a spectrum.  At its outer limits are writing forms that go beyond the generally applicable constraints involved in fashioning a work that is consistent with the norms of the reading public and instead impose more artificial constraints devised by the author.  An excellent example of this is the book Green Eggs and Ham, written by Dr. Seuss.  The book was written on a dare from publisher Bennett Cerf that Seuss could not write a bestseller using only 50 words.  Obviously the good doctor prevailed and, one would hope, collected. 

     Other literary constraints are used often by mystery writers (myself included), as devices to hide clues.  These include anagrams, in which the letters of a word are phrase can be re-arranged into a different word or phrase, and the acrostic, a favorite of Lewis Carroll, in which the first letter of successive lines of text, usually a poem, can be read vertically to reveal a hidden message.  Another device is to restrict a portion of the text to only certain letters – an Ellery Queen mystery (nameless here; no spoilers!) does this in a message that is drafted in its entirety without utilizing one rather popular letter. As a general rule, particularly when the device is used to hide a clue, the goal is to apply the constraint in a manner in which it is undetected, at least initially, by the reader.  The constrained prose or poem should read as though it was freely drafted, in other words, as though it was written without the constraint. 

    The self-imposed constraints discussed above are fun for the mystery writer.  They allow the writer to stretch his or her wings, and can provide means to hide the obvious; they challenge the writer’s skill to pull off the ruse.  But as I said, constrained writing is a spectrum.  Let’s take a deep breath and then explore what lies several turns down the trail.

    Several months ago a friend gave me a book, Never Again by author and poet Doug Nufer, that takes constrained writing to an extreme.  Mr Nufer’s task?  He has written a novel that, in just over 200 pages, never uses the same word twice.  To fully comprehend what a Sisyphusian writing task this must have been, contemplate the first sentence in the book:
                When the racetrack closed forever I had to get a job.  
There goes “when,” “the,” “I,” “had,” “to,” “get,” and “a” all before breaking free of  the second line of the novel.

    The story that unfolds recounts the exploits of a gambler who, like the constrained author, has vowed to never do, or say, anything that he has said or done before.  The book is clearly a tour de force. But, unlike the more manageable constraints discussed above, this is hardly one that the author can pull off without the ruse becoming self-evident.  And suffice it to say that this also is a book that requires focused attention by the reader and should not be undertaken by a mind already mellowed by a few drinks! 

    The Nufer book reminded me of another example of extreme constrained writing that I encountered years ago, Gadsby by Ernest Vincent Wright.  This 1939 novel of over 50,000 words tells the story of a down-on-its luck town that is reinvigorated thanks to the help of the novel’s hero, John Gadsby.  The story, now in the public domain,  is a lipogram:  it is told without using any word containing a banned letter, here, the most prevalent letter in the English language – “e”. Wright’s mechanical technique in writing the novel is explained in the introduction as follows:
The entire manuscript of this story was written with the E type-bar of the typewriter tied down; thus making it impossible for that letter to be printed. This was done so that none of that vowel might slip in, accidentally; and many did try to do so!   
    The burden of the technique, while broodingly present in the construction of any single sentence, presented overarching narrative problems as well.  Again, the words of the author from his introduction:
In writing such a story, -- purposely avoiding all words containing the vowel E, there are a great many difficulties. The greatest of these is met in the past tense of verbs, almost all of which end with “—ed.” Therefore substitutes must be found; and they are very few. This will cause, at times, a somewhat monotonous use of such words as “said;” for neither “replied,” “answered” nor “asked” can  be used. Another difficulty comes with the elimination of the common couplet “of course,” and its very common connective, “consequently;” which will’ unavoidably cause “bumpy spots.” The numerals also cause plenty of trouble, for none between six and thirty are available. When introducing young ladies into the story, this is a real barrier; for what young woman wants to have it known that she is over thirty? And this restriction on numbers, of course taboos all mention of dates.
Many abbreviations also must be avoided; the most common of all, “Mr.” and “Mrs.” being particularly troublesome; for those words, if read aloud, plainly indicate the E in their orthography.
As the vowel E is used more than five times oftener than any other letter, this story was written, not through any attempt to attain literary merit, but due to a somewhat balky nature, caused by hearing it so constantly claimed that “it can’t be done; for you cannot say anything at all without using E, and make smooth continuity, with perfectly grammatical construction—” so ‘twas said.
    If the labors of Mr. Wright were not enough to shame those of us who at times profess writers’ block as an excuse to avoid lesser tasks, it should be borne in mind that there is also a French equivalent to Gadsby – La Disparation by Georges Perec, which also was written without using the letter “e,” and which was subsequently translated into English in 1995 as A Void.  The translator, Gilbert Adair, accomplished the translation also without using that banished letter.  Marvel at the feat of the author, but stand in awe of the constraints borne by the translator!

    As Wright noted, with severe literary constraints writing style invariably suffers.  That is not to say, however, that pathos cannot be found in all of this.  Think of the sad plight of that which has been left behind in constrained writing – the letters, or words, or phrases that are shunned, exiled from the story through no intrinsic fault of their own.  Think of the poor little “e’s.”  Mr. Wright, in his constrained zeal, did not ignore their sad plight.
People, as a rule, will not stop to realize what a task such an attempt actually is. As I wrote along, in long-hand at first, a whole army of little E’s gathered around my desk, all eagerly expecting to be called upon. But gradually as they saw me writing on and on, without even noticing them, they grew uneasy; and, with excited whisperings amongst themselves, began hopping up and riding on my pen, looking down constantly for a chance to drop off into some word; for all the world like sea-birds perched, watching for a passing fish! But when they saw that I had covered 138 pages of typewriter size paper, they slid off onto the floor, walking sadly away, arm in arm . . . .