Comeuppance

I’ve had a bit of comeuppance. Or maybe a come-down-ance? Been humbled, anyway.

I’d read that screenwriters are told to repeat the plot of a story at least four times during the course of a movie because viewers no longer have the ability to follow a plot all the way through. Not only are they distracted by their phones, but all that scrolling and seeing small snippets of videos, comments, and headlines has made them unable to focus. That lack of focus is also why few people read books — they can’t comprehend what they are reading, can’t keep the story in their head long enough to make sense of it.

This made me feel proud of myself that even at my age I could focus on a story, often being able to read an entire book at a sitting and keep the whole thing in my head. I’m even getting to the point where I can keep the entire four million words of the Wheel of Time books in my head, which is important because of all the foreshadowing. (You can’t tell when something that was foreshadowed happens if you can’t remember the foreshadowing.)

Anyway, lately I’ve spent a lot of time online, following the Buddhist Monks’ Walk for Peace, listening to black conservative commentators (I was interested in seeing what they thought about being told they were too stupid to figure out how to get an ID), following the backlash of the halftime show and its alternative (what I learned is that if you didn’t like either, you’re probably just plain old), and various other things.

And you know what happened? I can no longer focus on reading. I can’t keep even a chapter in my head, let alone an entire book. Can’t sit still without wanting to go check to see what’s going on elsewhere.

I never planned this experiment, never planned to test the theory that online activities shorten one’s attention span, but I sure got a quick result. Luckily, I figured out what the problem is and know an easy solution — spend less time online. But what about people who have lived their entire life practicing what I did for just a few weeks? Can they ever learn to concentrate? Though I suppose what it comes down to is if they even want to. And I doubt they do.

The world has seldom been a comfortable place for me since I’ve never fit into any socio-cultural setting. We didn’t have a television when I was a kid and we weren’t allowed to listen to popular radio stations — my father wanted us to grow up to be different and, well, he got his wish. Hence, growing up I seldom understood the cultural references of my classmates, and since I don’t have television now, I don’t understand today’s cultural references. My preferred music is silence. My preferred activity is reading books. My preferred companions are those who know how to think. So even though I’ve usually been able to find a niche for myself, I never felt as if the world was mine.

And now I know for a fact that the world isn’t mine. I might still have a decade left or possibly even two, but I’m on my way out. The world belongs to younger people. And in their world, maybe being able to focus or keep stories in their heads isn’t an issue.

As for me, I’ve learned that even a bit of misplaced pride can end up being humbling.

***

Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One.

 

Writers: Be Bold!

When writing, it’s important to be decisive. Passive storytelling, passive events, passive motivations, passive characters, passive verbs, all lead to a story without risk or conviction, full of missed opportunities.

Get rid of the unnecessary qualifying words (quite, a bit, a little, some, somewhat, I guess) and non-specific words (someone, everything, huge, handsome, very, really). Such words detract from the authority and decisiveness of your writing.

Too many flashbacks rob a story of drive, give it a sense of aimlessness. So does a lack of focus. Thank heaven for rewrites! The grieving woman in my NaNoWriMo story keeps reflecting on the past, which makes sense, because for her there doesn’t seem to be much of a future. Still, it does seem aimless since she’s thinking instead of doing something. When I rewrite it, I’m going to take away the aimlessness by having the story revolve around a theme to give it focus.

The worst offense for indecisive writing is backing off from a major scene, skipping it entirely, or doing it in flashback. Many new writers don’t feel they are capable of writing dynamic action scenes, so they skim past it and hope readers won’t notice. Or they have a character other than the hero commit the final act, such a man showing up at the end to rescue the heroine in women-in-peril novels. This isn’t as common as it once was, which is good. If the woman is the hero, she needs to put herself on the line during the final scene and not expect someone else to do it for her.

In More Deaths Than One, it might seem as if I passed the buck — the solution to the mystery of Bob’s identity came in a letter rather than his doing the work himself — but the point of the scene was for him to interact with the waitress, not interact with the villain. I wanted to show her emotion on his behalf, show his reaction to her as together they learn the truth. It was the immediacy of their reaction that I needed. How a character feels, reacts, or emotes, is every bit as important as what a character does.

It’s important to trust yourself as a writer. Trust that you will be able to recognize the truth of your scene and what you want to accomplish (as I did with More Deaths Than One). Trust that when it comes time to rewrite and edit, you will know what you need to do to create a dynamic story, and that you will be able to do it.

Most important of all, don’t skirt around the story. Get right to the heart of the action. Be bold.