Showing posts with label writing short stories. Show all posts
Showing posts with label writing short stories. Show all posts

22 January 2019

I've Crossed A Line -- Warning: Rated X for Expletives

by Barb Goffman

You can take the girl out of New York, but you can't take the New York out of the girl. That's my explanation for why I often pepper my speech with expletives. Anyone who read my 2017 column  titled "The Intersection of Plotting and Cursing" knows I'm quite comfortable with the word fuck. I've used it and other curse words in my stories without issue.

How often? I just ran a search of my published stories, and here are the results:

  • Asshole -- used in two stories (6% of all my published stories).
  • Fuck -- used in two stories (6%). A surprisingly low number. I'll have to work on that.
  • Shit -- used in four stories (12%).
  • Bastard -- used in five stories (16%).
  • Bitch -- used in fifteen stories (48%!). I might have to tone this one down.
Given these results, you'd think I didn't often write light cozy stories. And yet there's one big curse word missing from the list. One word that, until last week, I had never used in a published story. Can you figure out what it is? Here's a hint: it rhymes with the word for the smallest animal in a litter. See, I have so much trouble with this word, I'm squeamish about even typing it here, in an academic (ish) discussion about using curse words in my fiction. The word is ...

Cunt. There I said it.

And I'm cringing.

There is just something about this word that, to me at least, crosses a line. I know some of you are reading this thinking I must have no lines. But I do. And cunt crosses it. That's why I never say it. And until now I've never used it in my fiction.

So why did I make this exception? And was it a good choice?

To answer these questions, let's turn to the story in question. It's my newest story, "Punching Bag," which was published last week in the Winter 2019 issue of Flash Bang Mysteries, an e-zine that showcases crime flash fiction. I'm delighted that not only did editors BJ and Brandon Bourg choose to publish it, but they also chose it as the cover story and as the editors' choice story for the issue. It's the story of the darkest day in an emotionally abused teenage girl's life.

Let's stop here for a moment. I'm afraid that anything I say from here on will ruin the story for you if you haven't read it. So please go do so. The story is only 748 words long--the equivalent of three double-spaced pages. You can read it really quickly by clicking on the title in the prior paragraph. Then come back.

Okay, you've read it? Good. (I hope you liked it.)

You'll notice that the use of curse words is minimal. Toward the end the mom says the daughter is stupid and calls her a "disappointing, ungrateful bitch," and other unspecified names. That was all I planned to say about the matter originally, figuring readers could extrapolate from there. But one of my trusted beta readers told me she didn't think the girl was justified in killing her parents. She thought the girl came across as spoiled and selfish. I was surprised. I definitely didn't want that. I wanted readers to understand this girl, to be on her side, despite that she does a horrible thing. So I felt I needed to up the ante. That's when I added the part about her mom calling her a "self-centered cunt."

I figured if anything in this story was going to turn readers' perception of this girl from spoiled to sort-of justified, it would be that. If the word cunt crosses a line for me, I hoped, it would cross a line for readers, too--at least any readers whose line hadn't already been crossed by the mom's behavior.

So I submitted the story. But I worried. Was the use of the word cunt too much? Would it keep the story from being accepted? Then, once the story was accepted, I worried about readers. Would the word turn them off? Especially readers who know me primarily for my lighthearted, funny stories? The answer: So far, so good. I've gotten some feedback on "Punching Bag," and it's all been positive, with no one mentioning my use of that word. This response has helped me feel better about my choice, despite that the word still makes me cringe.

What do you think? Would you have been on the girl's side at the end if I hadn't included the "self-centered cunt" line? Or did the line push you onto the girl's side? Or do you think I went too far? What words cross your line?

One final note to my fellow SleuthSayer Robert Lopresti: Last week you wrote briefly about your newest flash short story (which is fewer than 700 words long), saying you were keeping things short because only English professors could get away with writing something about a story that is longer than the story itself. Ha ha, Rob! I have proven you wrong, because this blog about "Punching Bag" (excluding this paragraph) is 29 words longer than the story itself, and I am no English professor. Do I get a prize? Please don't make me become an English professor. I wouldn't last. I'd surely get written up for cursing in front of my students.

14 January 2012

Novels and Short Stories: Can A Writer Do Both?

by Elizabeth Zelvin

I have writer Mike Orenduff’s permission to quote something he said on the DorothyL e-list a few weeks back:

I’m often asked at talks and signings about how to write short stories. My answer is if you want to write books, don’t write short stories. A short story is to a book what a sprint is to a marathon. Both are worthwhile and fun, but you need to choose just one because training for one actually harms your ability to do the other.

With due respect to Mike, I couldn't disagree more with his statement that training for short stories harms your ability to write novels and vice versa. After all, they’re both storytelling.

Learning the fiction writing skill set (which builds on and differs from the general writing and editing skills I'd been honing all my life) started with the first novel. Creating a coherent structure, pacing, starting and ending scenes in the right place, developing and differentiating character, sharpening dialogue, avoiding information dumps and excessive backstory, and killing my darlings in revision in the first and subsequent novels were all essential in writing short stories.

Writing short stories taught me when to stop, how to tighten structure and pace to the max, literary contraception so darlings that might need killing were never born, and how to end with a twist and a bang, which in turn enhanced my scene, chapter, and novel endings. Writing short stories also showed me that my series character's voice was not the only voice I had in me, and further, that beyond writing the straight whodunit from the detective's point of view, I could explore my dark side, switch subgenres to write historical, paranormal, and flash fiction, and even find the voice of a killer or two. Both of my series, one a series set in today’s New York and featuring a recovering alcoholic and the other, set on the voyages of Columbus, with a young Marrano sailor as protagonist, consist of both novels and short stories. If I may say so myself, both formats work for me.

When I surprised myself by writing my first short story, I was amazed to find how spacious 4,000 or even 3,000 words can be, and that impression has been sustained through a dozen published stories, three of them Agatha nominees. I’ve never had a sense of having to cut description, character, or dialogue. That insight has helped me see when enough is enough in drafting and revising each 70,000-word novel. Just as novelists who used to be journalists find it easier to produce a set number of words every day and take critique better than the rest of us because they’re used to being edited and even deleted, short story writers bring to their novel manuscripts a keen understanding of when enough is enough.

When I first heard of flash fiction, I was astounded that some writers could tell a story in 1,000 words or less.
But when I thought it over, I realized that I had been creating concise narratives of 150, 250, and other limited word counts for decades: some were poems, others were songs. I don’t decide in advance how long a tale I’m ready to tell will be, unless I’m writing for submission on a particular theme with a particular length requirement. It depends on what the characters tell me and where the story takes me as it unrolls in the mist before me. Without getting into any debates between science and theology, I can’t help imagining whoever is in charge of the universe taking the same journey (or is it a voyage?) through the primordial soup, with all of creation unrolling into an endless story.