Hidden Under a Pile of Words

By Jeanette Grant-Thomson 

I write because I love it. I enjoy every sentence, even the corrections, the amended versions of my novels, the reworded versions of other people’s stories. I’ve written ever since I was about six or seven and I only stopped for a few years after becoming a Christian.

Why did I stop?

Because I was so enthusiastic about my new-found faith, I didn’t want to do what I was concerned might be wasting time. I soon discovered that the closer I grew to God, in his presence my mind would be filled with ideas for poems, stories, all sorts of things. I came to believe he considered writing one of my gifts.

Picture the scene.

I was living in a valley at Bardon. At the top of the hill lived a Christian friend of mine. He had a magnificent view. I had none at all. All I had was an old flat with a rickety verandah.

So I prayed.

Me: Lord, how come you bless that man more than you bless me?

God: He’s using his talents.

Me: Well, what do you see as my talents?

God (impressing it clearly so I had no doubt): Writing and praying.

The very next morning I was asked to write some things for my church. Sunday School books and tracts. Then Teen Challenge asked me to write their newsletter. That led to Jodie’s Story, my first actual book. Which led to my being asked to write my next two biographical stories. (This all took years, of course.)

I found writing biographies easy. There was the story, with its obvious pivot points and suspense, all ready-made. All I had to do was put it into words.

Writing novels

So from there to novels. An obvious step. But … in my novel writing, I face big challenges. Often I begin a novel with my setting. Beautiful or interesting settings intrigue me. Take my current WIP, Returning to Riverview. It’s set partly at beautiful Kenilworth Homestead on the Mary River. I lived there on and off for many years and grew to love that property. My first visit there inspired a journal full of poems. Kenilworth features in many of my blogs. I loved the images it evoked.

The old tree with its heavy load of vines – 

    Old man tree, 

    Dying, 

    With your vine-laden back hunched against the wind, 

    Bony knuckled branches clutching dry air. 

The high mud banks of the river with flood water rushing past, surging up the banks, rearranging the shape of the bank like a potter at work (well, God the Great Potter was at work) swirling and scouring, sculpting and carving.

Photo by Elvira Meridy White 

So, as I write Returning to Riverview, I’m enjoying sharing these wonderful images as my protagonists, Claire and Vivien, see them.

But oops! Where’s my story gone? That famous narrative arc is covered in images like vines over the tree. In fact you can’t find the plot for vines. Isn’t it time my protagonist – er – did something? Or something happened to her? She’s lost! Well, for the purposes of the plot, she is anyway.

So, as a lover of beautiful settings and interesting characters, I wrestle most with the very bones of the novel. Its structure or narrative arc.

So what can I do about it?

First I pray – along the lines of ‘Help, God! Give me discernment to see what is a necessary part of the setting and character-building, and what is sheer self-indulgence.’

Then I proceed to tighten it. I am much more ruthless than I once was. Unless I were to feel I could write a beautiful literary novel like Marilynne Robinson’s Pulitzer-winning Gilead (don’t worry, I have no such illusions), I aim for a traditional narrative arc. That means, from what I can glean from various gurus I’ve heard or read, my first pivot point should be about twenty percent of the way along. Maximum thirty percent. Ouch! And I have to finish off the novel quite soon after the climax or main pivot point. (Opinions do vary.)

My desk is cluttered with copies of my novel I’ve printed out to read.

I understand one has to ask oneself, does this (each) scene take the narrative forward at all? If the answer is ‘no’, it has to be deleted or radically shortened. After doing that, I remove some unnecessary words and try to simplify any awkward sentences.

So I’m currently doing that with Returning to Riverview. I’m happy enough with my beginning. I feel it captures the readers’ attention and leads them into the novel. Now to get the action happening soon enough to keep their attention.

Do any of you have an area of writing where you struggle? What is yours? How do you deal with it? 

Jeanette Grant-Thomson is a north-Brisbane based Christian writer and speech and drama teacher. She has been writing since her childhood and has had a variety of things published, ranging from poems to novels and biographies to film scripts (she also directed the films in her more energetic youth.) She has had five books – novels and biographies – and many shorter stories published.

Author page – www.facebook.com/jeanette.grantthomson

Exploring Genres: Nonfiction

In this cross-post between Christian Writers Downunder and Australasian Christian Writers, I’ve been tasked with writing about the different types of nonfiction. This genre covers a lot of ground, from biographies of famous people to new ways with tofu, from annual reports and training manuals to news articles and blogs. First, let’s get some definitions under our collective belts.

What is Nonfiction?

In the broadest sense, nonfiction is anything based on factual information. This differs from fiction built around true events or characters. Tracy Chevalier imagined a backstory for the girl in Vermeer’s iconic painting Girl with a Pearl Earring. We understand that she took some literary licence in doing that, but it doesn’t matter. We’re happy to get swept up in the story. In contrast, readers expect that nonfiction is true, or at least a well-argued and reasoned version of the truth.

Reportage vs Creative Nonfiction

I also want to make a distinction between straight reportage and creative nonfiction. In reportage, you present the information as objectively as possible. For example, journalists report the news using the 'who, what, when, where, why and how' questions.

An intoxicated Lithuanian clown was injured this morning when his skateboard collided with a penguin on the Gold Coast Highway. The penguin remains in a fishy condition at Sea World.

Other types of nonfiction that might come under the reportage umbrella include dissertations, scientific papers, and annual reports. These documents can include opinion, interpretation and analysis, as long as such commentary is logical and consistent with the available evidence.

In creative nonfiction, you still deal with facts, but you use literary devices to convey them in an engaging way (e.g. scenes, dialogue, imagery). For example, a straight news article might report that missiles were fired over Tel Aviv, while a piece of creative nonfiction might show events through the eyes of someone holidaying in Israel at that time. (See Anna Elkins’ travel essay Of Danger and Beauty for an example).

If you would like to find out more about writing creative nonfiction, I highly recommend Lee Gutkind’s book You Can’t Make this Stuff Up: The Complete Guide to Writing Creative Nonfiction from Memoir to Literary Journalism and Everything in Between. If you would like a quicker introduction, I have a four-part series on creative nonfiction on my website. Just go to my writing tips blog and see Posts 33 to 36.

In the remainder of this post, I’ll highlight some of the main types of creative nonfiction.

Biographies, Autobiographies and Memoirs

Biographies, autobiographies and memoirs all tell about the life of someone, but they differ in terms of the author and focus.

A biography is written by someone other than the subject. For example, Bonhoeffer: Pastor, Martyr, Prophet, Spy by Eric Metaxis.

In contrast, autobiographies and memoirs are written by the subject. It’s your story told in first-person. While there is some overlap between the two, memoirs tend to cover a particular theme or a shorter period in the person’s life rather than trying to include the whole saga. Jo-Anne Berthelsen’s memoir Soul Friend tells the story of her special relationship with her spiritual mentor, Joy. Other aspects of Jo-Anne’s life are only mentioned insofar as they relate to that main theme. Memoirs also typically involve more reflection, as authors look back on events and discuss what it means to them now or what they might have done differently.

For some tips on writing life stories, please see Posts 8 to 11 on my blog.

‘How-To’ Books

As the name suggests, these types of books give readers practical instructions for accomplishing certain tasks. Whether it’s upcycling or unicycling, preparing a sermon or peppering a salmon, there’s bound to be a book or article to show what you need to know.

Christine Dillon’s book Telling the Gospel Through Story is a good example. Christine draws on her experiences in cross-cultural mission work to show readers how they can use stories to talk to people about their faith

There are also a myriad of writing craft books that show you how to show, and tell you how to tell. Some favourites of mine are Plot and Structure by James Scott Bell and Story Genius by Lisa Cron. (Click here to see my post on how to use Cron’s techniques to deepen character in fiction).

Self-Help Books

Self-help books are like ‘how-to’ guides for your life. Some of these books help you deal with challenging situations (e.g. abuse, addiction, depression, parenting, singleness), while others help you to lead a more fulfilling life.

A number of Christian living books fall within this category. In her book Beyond Betrayal: How God is Healing Women (and Couples) From Infidelity, Lisa Taylor shares her own story, but also discusses research, strategies and resources to help people who’ve been through similar experiences. 

Other examples include Bill Hybel’s Simplify: Ten Practices to Declutter Your Soul and Cloud and Townsend’s Boundaries: When to Say Yes, How to Say No To Take Control of Your Life.

Expository Books

I’m using this term in a very broad sense to refer to books that describe or explain information surrounding a particular topic. It could be a book about brain surgery, global warming, literature, theology, politics, cricket, history, psychology, or the companions of Dr Who. The main aim is to inform the reader about the topic. For example, Mark Worthing combines literature and history in his book Narnia, Middle-Earth and the Kingdom of God: A History of Fantasy Literature and the Christian Tradition.

Most theological books would come under the expository banner (e.g. God’s Priority: World-Mending and Generational Testing by Anne Hamilton). Devotional books or Bible studies could also fall within this category, though the more applied devotionals may fit better in the self-help category.

Poetry and Song

Whoa! What are poetry and song doing in a post about nonfiction? Long before books and television were readily available to the masses, true stories were passed from village to village by poets and balladeers. These methods are of course still used today. In the latest Poetica Christi anthology, Wonderment, I have a poem called Apollo 8 in which I tell the story of the astronauts who read from the book of Genesis in a Christmas Eve broadcast from lunar orbit in 1968. You can hear part of the original broadcast here. Even if you don’t know a lot of poetry, I’m sure you can think of dozens of songs based on true stories (e.g. Hurricane by Bob Dylan, I Was Only 19 by Red Gum and The Outlaw by Larry Norman).

Wrap Up

As I mentioned earlier, there are dozens of sub-genres within nonfiction and I’ve only scratched the surface. There is also a lot of overlap across categories. For example, Ruth Bonetti combines family memoir with the political undercurrents of the times in her award-winning book Burn my Letters: Tyranny to Refuge.

Even if you mainly write fiction, you could make the odd foray into the nonfiction world. Perhaps you could write a magazine article about the nineteenth century fashions worn by your heroine or the science behind the gene therapy in your young adult thriller. Anthologies also provide opportunities for short nonfiction pieces (e.g. The Gecko Renewal and Other Stories of Life edited by Tabor College lecturers James Cooper and Mark Worthing).

What are your favourite nonfiction books and why? I’d love to hear your examples.

Nola Passmore is a writer and editor who has had more than 150 short pieces published, including fiction, poetry, devotions, magazine articles, academic papers and true stories.  She and her husband Tim own their own freelance writing and editing business called The Write Flourish.  She is currently writing an ever-changing novel and will have the draft finished by Christmas ... really!

Web site:    http://www.thewriteflourish.com.au  

Facebook:  https://www.facebook.com/TheWriteFlourish

Twitter:       https://twitter.com/NolaPassmore
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Whose Voice?

Firstly, I apologise for the delay in writing this blog. I've had major issues with provision of phone and internet in our new home. Thanks so much for your patience.

When I start a new work of fitction, I always make sure I create my characters as real as I can with dark secrets in their past; dreams and hope for their future; their disappointments in life up until this time and everything in between. I include everything right down to their favourite colour and foods.

One of my current projects is going through a deceased Christian woman's possessions with a view to writing her biography or a story based on her life. I haven't decided which way I'm going to write the story yet. I'm hoping by the time I finish reading through the documents and letters the Lord will point me in the direction he wants me to go.

As I read the letters I'm conscious of the voice of each of the letter writers and how I'm beginning to understand their personalities through the letters. I'm learning about the hopes, dreams and disappointments of the people who have been a part of this woman's life. I'd never thought written correspondence, whether it's letters or emails could be so insightful in getting to know a person and how this can be used to build a character's profile and voice. I've also realised that each of us have our own voice in writing as well as the way we speak.

This exercise adds a different dimension to how I now view my future characters and the voice I will use in the dialogue I will create for them. Think about the characters in your books; are they speaking the dialogue in their own voice or art they using your voice in disguise.

I recently had a reader, who knows me well; say she saw me speaking through one of the characters. 'It sounded just like you,' she said. At first, I smiled at her comment, but the more I thought about it and studied the dialogue in that book, the more I became disappointed I hadn't created the character true to their personality.

Writers put a lot of themselves into their work. I expect that of myself because my readers want to get to know me through my writing. As writers our voices should be in our narrative of the work, but when the character is speaking, it is their words, not ours.

The comment from my reader gave me a lot to consider. From now on I will be revising my dialogue with the view of fine tuning my character's voice. What about you: whose voice is your character using?