Hypnagogia — A Reflection
Tag: Amwriting
The Pros and Perils of the Pantser
One thing I’ve learned recently, during my practice of writing one flash fiction every week, is that being a “pantser” comes with its own unique challenges. For those who don’t know, a pantser is a writer who begins a story without outlining it. They are the opposite of plotters, who always pre-plan their stories before writing it.
On a given day being a pantser, my word-inventory might be strong: I’ll feel warmed up to create beautiful descriptions or narration, with stunning literary devices. But without a vision of where I’m taking my story, I cannot write a single sentence, unless I want a speculative piece, maybe.
So I sit at my page and generate visions on the fly—how many characters to include, what setting, theme, etc.—and that eats up writing time. I’ve had quick brainstorm sessions before, don’t get me wrong, and being a pantser feels more free than being a plotter, having to follow the rules of a rigid outline. But if I brainstorm sloppily, I also risk gluing cliches together to make a story.
Here’s an example:
(Bland brainstorm session) A cigarette dropped in woods causes fire.
(Effective brainstorm session) A blow-torch is used in woods to reveal secret bunker under the foliage.
To get that uniqueness takes more mental effort. But if you make it, it’s definitely worth it.
Good Nouns Go a Long Way
Adjectives may be strong, but nouns are powerful. With a good noun, you can go an entire story with an adjective.
Adjectives are strong, but sometimes they can be weak. Take the phrases below for example:
“a funny guy”
“a guy who is funny“
Both examples are helpful describg the noun (“guy”) but they are also flawed. In the first phrase, if the page cut off after the adjective “funny,” readers would be confused. A funny what? T-shirt? Song?
The second example shares this flaw. It uses an relative clause (“who is _”) which functions as an adjective, since it describes the noun. It’s a handy technique, but if the page cut off anywhere after “guy” and before “funny,” readers would be lost. Imagine if after the “is” was information that never again gets revealed in a story. The sentence could read: “A guy who is a fan of sentimental operas, though he tends not share this with others.” But readers would only see “a guy who is” and never be fufilled. Ah, the unaddressed suspense…!
Don’t get me wrong, adjectives are great. They can be excellent descriptors, with phrases like “a witty guy” or “a guy who has a wry sense of humor.” But they hold nouns back.
With a good noun in a phrase, you don’t need an adjective:
“A prankster“
“A comedian“
“An impressionist“
In one word, a reader has learned information that previously required two words.
Whenever you’re revising your work, it’s always a good idea to look at the adjectives you’ve used and decide if they work good or if they could swapped out for a better noun. Happy writing, and seeya next time!
The Perfect Gift
“Dude: me and Karey, rappeling down a cliff, blasting Earth Wind & Fire out these speakers.”
“… and that’s your idea of a relaxing Valentine’s day?”
It was Shawn I was talking to, so I couldn’t be miffed at the reaction. A windy spring day, leaves loosed from trees brushed across his cheek or afro; his mouth remained agape. I rose from my reclined posture, patting my hands on my knees. He won’t win this lecture.
“We’ve been hiking like a bajillion times by now. She’s been saying it’s too easy, and she wants to ramp it up.”
“Really?” Shawn said. “She’s been with you hiking that much?”
“Yeah, we—”
“OK. Let’s say she has, pal of mine. She’s still. Scared. Of. Heights.” He made chopping scissor fingers and lowered his hand to the ground. “That’s you by the way. She’d push you off before going down herself.”
“She would not. She loves me.”
“And for what reason, I do not know.”
“Because I saved her life, I’m great at directions, I cook mean meatloaf.”
“Oh alright. You are a good cook at least. My wife’s been begging me to become your student. She still can’t get over those steaks…”
“Whoa-ho-ho! Has my guy finally left the souless salad side of vegetarianism?”
“Fat chance, moo murderer.”
“You’ll come around, someday,” I said. I turned to the corner and picked my new speakers off the bench. “Anyway, wise guy, what do you think I should do for Karey next week?”
“Anything that doesn’t involve those speakers. Unless you’re playing smooth jazz.”
“Yuck, that’s what she likes.” A woman walking by rolled her eyes as she passed me.
“Well if you’re tryna marry her someday you better get used to making sacrifices.”
“Yeah yeah.” I said and shrugged. But deep down I knew he was right. Karey and I started dating five years ago, and it took two years of friendly prodding for her to dip her toes into my lifestlye: I took her on her first hike. We’ve been on several since; she loves it. It would be rude of me to not give her world a try.
“Will that be the red or the white wine,” a waiter might ask us. I’d sweat profusely. What’s the difference? And you can’t say “I’ll take a beer” in the restaurants Karey likes.
“She’s been dealing with nasty costumers all week,” Shawn said. Her shoulders likely ache from hunching over at that receptionist desk all day. She needs… a massage. Or a sauna. Go with her, try both!”
“I dunno if I can sit still for so long while somebody’s touching me.”
“Make some jokes. She’ll be right next to you, you’ll forget about your surroundings.”
“What if I forget to hold in my farts?”
Shawn slapped both palms to his face. “Man, man, man… you’re hopeless.”
The Joyous Islands of Exposition and Narration (or, You Can’t Swim Through Description Forever)
Looking at my current short story projects, I’ve realized some are all bite and no bark. In a few of these stories, I thrust my protagonist into action on page one, and other than their internal reactions to what’s going on, I don’t showcase their reflection on the past or their hopes for the future; nor do I show their abstract thoughts of the present. Ah, Dialogue and Description, you wiley beasts—you’ve overtaken my prose!
All is well. Well, all will be well. I’m going to go back and, between some paragraphs, add character thoughts. If you’re in a similar boat, I’d advise you add some exposition and narration too.
Here’s a good reason why. I’ve got a story going where my protagonist ends up in another world. Pretty crazy, right? But right now I just have him walking around and interacting with stuff, instead of using narration to freeze time and have him react to the strangeness of things—what would his mother think if she were there? And oh, what is his mother like? Even if we never met her, exposition like this enriches a story, and taking the time to narrate such details gives healthy space between bustling description or long stretches of dialogue.
I’m gonna go make these changes. Happy writing!
The Fiction Writer 