Hemingway and Storytelling

Hemingwaywantabes, never forget that competent authors are superb storytellers. While reading the classics, note how the canonized authors weave a story. Whether the choice is fiction or non-fiction, the story must be clear, have a good beginning, middle, and end, and never be boring. Reading well-written books helps you realize how others have accomplished the feat. In On Writing, Stephen King states:

Good writing . . . teaches the learning writer about style, graceful narration, plot development, the creation of believable characters, and truth-telling. A novel like Grapes of Wrath may fill a new writer with feelings of despair and good, old-fashioned jealousy—I’ll never be able to write anything that good, not if I live to be a thousand—but such feelings can also serve as a spur, goading the writer to work harder and aim higher. Being swept away by a combination of great story and great writing . . . is a part of every writer’s necessary formation. You cannot hope to sweep someone else away by the force of your writing until it has been done to you.

In Bird by Bird, by Anne Lamott, the author presents an interesting strategy regarding fiction storytelling. Lamott quotes Alice Adams from a lecture about short story writing. The excerpt reads:

[Alice] said that sometimes she uses a formula when writing a short story which goes ABDCE, for Action, Background, Development, Climax, and Ending. You begin with action that is compelling enough to draw us in, make us want to know more. Background is where you let us see and know whom these people are, how they’ve come to be together, what was going on before the opening of the story. Then you develop these people, so that we learn what they care most about. The plot – the drama, the actions, the tension – will grow out of that. You move them along until everything comes together in the climax, after which things are different for the main characters, different in some real way. And then there is the ending: what is our sense of who these people are now, what they are left with, what happened, and what did it mean.

Fiction writers can learn from Scott Turow, author of several bestsellers, including Presumed Innocent. An excerpt reads:

The atomized life of the restaurant spins on about us. At separate tables, couples talk; the late-shift workers dine alone; the waitresses pour coffee. And here sits Rusty Sabich, thirty-nine years old, full of lifelong burdens and workaday fatigue. I tell my son to drink his milk. I nibble at my burger. Three feet away is the woman whom I have said I’ve loved for nearly twenty years, making her best efforts to ignore me.

Besides being a terrific storyteller, character description was Jack Kerouac’s specialty. An excerpt of On The Road reads:

He was a gray, nondescript-looking fellow you wouldn’t notice on the street, unless you looked closer and saw his mad, bony skull with its strange youthfulness – a Kansas minister with exotic, phenomenal fires and mysteries. He had studied medicine in Vienna; had studied anthropology, read everything; and now he was settling to his life’s work, which was the study of things themselves in the streets of life and the night.

In Balzac and the Little Chinese Seamstress, author Dai Sijie sweeps the reader into his novel portraying life during China’s Cultural Revolution. An excerpt reads:

The room served as shop, workplace, and dining room all at once. The floorboards were grimy and streaked with yellow-and-black gobs of dried spittle left by clients. You could tell they were not washed down daily. There were hangers with finished garments suspended on a string across the middle of the room. The corners were piled high with bolts of material and folded clothes, which were under siege from an army of ants.

Providing a good beginning, middle, and end to a story by doing so with each paragraph provides excellent storytelling. In Down and Out In London and Paris, George Orwell presents a worthy example. The excerpt reads:

The Jew delivered the cocaine the same day, and promptly vanished. And meanwhile, as was not surprising after the fuss Roucolle had made, the affair had been noised all over the quarter. The very next morning the hotel was raided and searched by the police.

While Woody Allen may be better known for his comedic films, one of his books, Without Feathers, is a classic. A short stories he weaves is called The Whore Of Mensa, a great “what-if” detailing one man’s search for intellectual companionship instead of the usual sexual gratification. An excerpt reads:

One thing about being a private investigator, you’ve got to learn to go with your hunches. That’s why when a quivering pat of butter named Word Babcock walked into my office and laid his cards on the table, I should have trusted the cold chill that shot up my spine.

“Kaiser,” he said. “Kaiser Lupowitz?”

“That’s what it says on my license,” I owned up.

“You’ve got to help me. I’m being blackmailed. Please.”

He was shaking like the lead singer in a rumba band. I pushed a glass across the desktop and a bottle of rye I keep handy for non-medicinal purposes.

“Suppose you relax and tell me all about it.”

In the non-fiction bestseller Seabiscuit, author Laura Hillenbrand captures the reader’s attention by providing visual and dramatic scenes propelling the reader into the middle of the action. An excerpt reads:

A minute later the field bent around the far turn and rushed at the grandstand. There was one horse in front and pouring it on. His silks were red. It was Seabiscuit. The crowd roared. Pollard [the jockey] and Seabiscuit glided down the lane all by themselves, reaching the wire in track-record-equaling time. Kayak was right behind them. It was Pollard’s first win since 1938.

Storytelling – the key to any good writing. Tell a good story and readers will come.

Hemingway and Book Scope

Hemingwaywantabes, many beginning writers with traditional publishing aspirations decide to write a book about a subject too small in scope. One writer told me his book idea about a cyberspace killer stalking fellow players of a video game. The idea was unique, but the stakes weren’t high enough to garner interest from agents or publishers. I suggested one of the players be the son of the Secretary of Defense. The twist elevated the story to provide a national scope, one affecting an official of the United States government.

The non-fiction arena provides similar challenges. Whether your work is a biography, chronicle of an event, or debate of an important issue, the scope must be of significant importance to gain national interest. Otherwise, agents or publishers will pass, believing the book audience is limited.

Many aspiring authors want to write an autobiographical story about special events occurring in their life. There are exceptions, but most often the scope of such a story is too limited to interest a literary agent or publisher. One writer focused his book on a youth summer camp he attended where a tragic death occurred. The story was important to him, but too personal to interest a broad readership. I suggested he write about another topic. When he becomes well established, perhaps the summer camp story will have a greater chance of success. Once again, uniqueness is the key – will readers really be interested in your story?

Assessing the market potential for any book you contemplate is essential. Literary agent Caroline Carney suggests aspiring authors estimate anticipated sales before contacting a literary agent or publisher. “One of the easiest benchmarks,” she states, “is to look at the size of the most popular association in your field (or, in the case of fiction, in a field reflecting the enthusiasm of your main character).” Carney further advises writers to visit the library and consult Bacon’s Magazine Directory to discover the circulation size of the largest magazine catering to their primary reader’s particular interest, or to note sales figures listed on paperback reprints of popular titles in a particular genre.

Carney believes the aspiring author must pay attention to guidelines within his or her field of interest. “Those contemplating a sports book,” she explains, “should adhere to the old saying, ‘the smaller the ball, the higher the sales.’” This means literary agents and/or publishers, based on past sales figures, will be more interested in books about golf, tennis, and baseball than they will about football or basketball.

Good tip, one applicable to all book genres.

Hemingway and Fiction/Non-Fiction

Whether to write fiction or non-fiction is an important decision for the author with publishing aspirations. If you have inclinations toward both, try both. Write a few chapters, a short story, or an article portraying a true-life event. Then let your imagination flow. Decide which provides more satisfaction, since writing with passion is essential to future success.

The decision to write fiction or non-fiction should not be made without considering an important question: Is it easier to become a published author by writing in one genre or the other?

There is no clear consensus as to whether fiction or non-fiction provides a better stepping-stone to a career as an author, but far more works of fiction are presented to literary agents and publishers than non-fiction. With so much competition, the odds of success for a first-time author of fiction are diminished. This is because publishers realize it is normally the author who is the star since readers return to purchase books by authors whom they have enjoyed before.

Non-fiction may provide more opportunity. First-time authors with a “platform” (expertise in a particular subject) abound, since generally the subject matter is as important as the name of the author on the book cover. Publishers recognized that the true story focusing on discharge of chemical waste by a large corporation portrayed in A Civil Action was the star, not the unknown author, Jonathan Harr. A similar situation occurred following the terrorist attacks on the United States when several books by unknown authors about the Taliban, Osama bin Laden, Afghanistan, and chemical warfare became bestsellers.

As with all rules of thumb, there are exceptions. Non-fiction is a broad genre including how-to and instructional books, biography, inspirational books, humor, and what is known as “narrative non-fiction”—true stories unfolding in much the same storytelling pattern as fiction. Authors of narrative non-fiction can also become superstars with a dedicated readership, as did Jon Krakauer, author of Into Thin Air and Into The Wild, or Stephen Ambrose, author of Undaunted Courage. Editors reviewing narrative non-fiction submissions look for many of the same qualities they seek with fiction—a compelling story with unforgettable characters written in page-turning style.

An exception to the author being the star of fiction may occur when the subject matter of the novel focuses on a headline-making topic. During the period following the Washington D.C. area sniper attacks, novels featuring themes about serial killers were popular.

Marie Butler-Knight, former publisher of Alpha Books, an imprint of Penguin Group USA, believes the genre of non-fiction can make all the difference regarding publishing potential. “Generalizations can be dangerous because there are different types of non-fiction,” she says. “How-to/informational books are easier to break in with if you have subject matter expertise. If you’re a generalist author, you’d better have a subject matter expert as a co-author or you’ll have a hard time convincing a publisher to publish you.”

Regarding biographies and narrative non-fiction, Butler-Knight disagrees with those who believe the genres are totally story-driven. “In order to succeed, these types of books need to tell compelling stories,” she states. “They require the same sort of writing skills as fiction. To a publisher, this sort of work is totally author-driven and every bit as risky as publishing fiction.”

The publishing world’s view toward fiction and non-fiction is symbolized through the comments of Jane von Mehren, former executive editor of Penguin Books. She told Writer’s Digest, “Non-fiction has become a strong, sophisticated area . . . In many ways, non-fiction is easier to publish than fiction because it targets a very definable audience, and it’s easier to package books and target them to specific readers.” She added, “It’s a booming area. In non-fiction, we look for books that will have a long shelf life, offering solid information and advice useful for years to come. It really helps when a non-fiction author is already an expert in his or her field, and the book builds on an existing platform.”

Von Mehren stated, “In fiction, we’re looking for a breakthrough story that will have a long life in trade paperback . . . Trade paperback fiction is gaining momentum, with excellent literary titles getting broader exposure . . . An unknown writer can break through with a great story. For an editor, that discovery is still an incomparable thrill.”

Whether to attempt to dent the traditional publishing industry with works of fiction or non-fiction is the writer’s choice, but John Baker, a fixture at Publisher’s Weekly for years and a noted expert on the book industry, reveals interesting statistics he learned from a top literary agent. “I’m told that 95% of the material that agents receive is fiction,” he said. “And that they sell 5%. Of the 5% of non-fiction that lands on their desk, they sell 95%.”

So, Hemingwaywantabes, listen up, and make your selection based on any number of factors mentioned here. Whether you choose fiction or non-fiction, it will be the quality of your work that makes the difference. Remember – unique book idea + great writing + well-planned publishing strategy = optimization of your publishing chances. And best of all, it only takes one publisher to say “yes” so keep the faith and never give up.

Hemingway and Short Stories

“Damn the torpedoes, full speed ahead” is one way to begin the writing process. But, Hemingwaywantabes, just as a baseball player with dreams of playing in the major leagues begins his quest in the minors, a bit of seasoning is warranted before you plunge into the world of writing for publication.

This seasoning involves writing short stories, essays, magazine or newspaper articles, or poetry for mainstream publications. Doing so teaches the discipline of writing with space and word constraint to produce good beginnings, middles, and ends to stories. For poets, it is the opportunity to test their mettle in a single poem or two.

Another benefit of writing short-form material is the ability to test linguistic skills and begin developing a personal writing style. The process may also help you decide whether to write fiction, non-fiction, or poetry.

Most important, publication of short stories, essays, newspaper articles or poetry provides a showcase for your talent while earning you a publishing credit. The latter will prove helpful when you seek publication for long-form fiction or non-fiction material.

Many celebrated authors began by writing magazine and newspaper articles, and short stories. Among them was Ernest Hemingway. His talent was recognized while he wrote for publications such as Atlantic Monthly and The Toronto Star.

Several modern-day magazines, including Esquire, GQ, Harper’s, Jane, Playboy, Seventeen, and Zoetrope, print short works of fiction. Publications like Vanity Fair, Atlantic Monthly, and Ladies Home Journal, among others, will consider short works of non-fiction.

One author who gained exposure by writing short stories is Terry McMillan, best selling African-American author of How Stella Got Her Groove Back. She began reading literary works by African-American writers while shelving books at a Port Huron, Michigan library at age sixteen. While majoring in journalism at UC Berkeley, she wrote The End, her first short story. When it was published, it provided a springboard for her long-form efforts.

Mary Higgins Clark, author of several best selling mysteries, jump-started her career by writing short stories. The first sold for $100 to Extension Magazine after six years and more than forty rejection slips. This modest success stimulated Clark, who wrote Aspire To The Heavens, a novel about the life of George Washington. It was a dismal failure, but her second effort, Where Are The Children, proved successful. This book paved the way for such bestsellers as Before I Say Goodbye, Deck The Halls, and The Street Where You Live.

J. K. Rowling, famous for the Harry Potter series, began her career by writing short stories. While attempting to complete two novels, she conceived a “what-if” idea. It focused on a young boy who didn’t realize he was a wizard. The skills she had honed writing short stories enabled her to complete Harry Potter and the Sorcerer’s Stone. It was published a year later to wide acclaim, catapulting Rowling to international fame.

Charles Dickens garnered experience as a newspaper reporter before turning to long-form writing. He then wrote short texts to accompany a series of humorous sport illustrations. Next came The Pickwick Papers. It led to Oliver Twist, Nicholas Nickleby, the first of Dickens’ successful Christmas stories, A Christmas Carol, A Tale of Two Cities, and David Copperfield.

Poets gain credentials through publication of their poetry in reputable magazines and journals. Publishers scan these publications searching for new talent.

For me, seasoning occurred when I wrote several columns for USA Today during the Mike Tyson trial. The credit led to a publishing commitment for Down For The Count. To those who scanned my manuscript, I wasn’t a novice writer with little credibility, but one who had been published in a national newspaper.

If you decide to write short stories, educate yourself about this form of writing. The easiest way is to return to the bookstores and focus on the classics. Look for anthologies of short stories by a variety of famed authors. These will expose you to several examples of good writing. Pay attention to how the authors formulated the beginning, middle, and end of their stories.

Celebrated author Elmore Leonard stated “Read and study what the writer is doing. Find a writer you have a rapport with and study the paragraphing, study the punctuation, study everything.” William Zinsser, author of On Writing Well, echoes Leonard’s comments. He wrote, “Writing is learned by imitation. If anyone asked me how I learned to write, I’d say I learned by reading the men and women who were doing the kind of writing I wanted to do and trying to figure out how they did it.”

Pretty damn good advice, wouldn’t you say. And I am sure Mr. Hemingway would agree.

Hemingway and Dialogue

No one disputes the fact that writing dialogue is one of the great challenges an aspiring author faces. But Hemingwaywantabes, there is hope from the master himself who was a master at writing verbal exchanges between his characters with such skill than readers feel as if they are part of the conversation.

No better example of Ernest Hemingway’s gift for dialogue is evident that in For Whom The Bell Tolls. You may open this classic to just about any page, and presto, there is language to learn from regarding how to write dialogue. Here’s an example:

“Sit down, Pilar,” Maria said. “Please, please sit down.”

“All right,” said Pilar, and the three of them sat down under a pine tree and look across the mountain meadow to where the tops of the peaks seemed to jut out from the roll of the high country with snow shining bright on them now in the early afternoon sun.

“What rotten stuff is the snow and how beautiful it looks,” Pilar said. “What an illusion is the snow.” She turned to Maria. “I am sorry  Iwas rude to thee, guapa. I don’t know what has held me today. I have an evil temper.”

“I never what mind what you say when you are angry,” Maria told her. “And you are angry often.”

From this passage, you may note that what Hemingway has accomplished is almost a short story by itself. You gain from this text such rich information about the two women and what is on their minds and in their hearts connected, as intended, by the use of the snow as the trigger-point for the conversation.

Never forget that Hemingway was the master of the short story before he began to write long-form. This is why he takes such extra care when it comes to writing dialogue. Learn from him, watch how he folds his message into the language and thus into the characters. The master is talking to you.

Note: More evidence of terrific dialogue is noted in the Appendix to “How to Become a Published Author: “A to Z” the book you may print or download using the icon above.

Hemingway and Dean Koontz

Today I had the pleasure of hearing Dean Koontz speak at the American Library Association Convention in Anaheim. Of course, I am just the tag-a-long on this trip as my wife Lu, a linguistics librarian at Michigan State, is the real librarian in the family.

Nevertheless, Hemingwaywantabes, hearing Koootz speak was inspiring. Of course, what makes this author one to listen to, and carefully, is that he has sold over 325 million books and counting. Yes, the figure is right – 325 million books!

A humble man, Koontz related stories of his early “bookless” childhood and how he discovered books at the local library at about age nine. He said he read nearly half of the books there, ones in about every genre possible.

Koontz then talked about his evolution to the bestseller lists with humorous anecdotes but the main thrust of his message was, in my opinion, all about love- the love of books, and most of all, the writing process. This made me recall reading that one of Hemingway’s wives – there were a few – remarked that he loved books more than her. I have no doubt this was true since he poured his heart and soul into his writings.

Considering the great authors love for writing, and books, made me recall a thought I include in “How to Become a Published Author: At to Z,” my book about writing and publishing that you may download from the text sections above. It reads, “Remember what one trait you have in common with every great writer who ever lived, whether it is Hemingway, Joyce, Rowling, Hawthorne, Faulkner, etc. – they all started with one book being published.”

Keeping this in mind during the writing process is essential to grinding out the writing on the days when you want to play golf, go to the beach, or toss a ball with the dog. Writers must write, they live for writing, and most of all, they love it. Without this passion, this desire to fill the page with exciting words that will show readers they love it, there is little chance of publication. But, if you do love it, write and write some more and then edit, edit, edit, soon you will create your first book on the way to publication. With hard work, it will happen. I guarantee it.