Writing for Story

Franklin says it is best to read his book cover to cover, and I have a theory as to why; it's a book that deals you a blow with insight after insight, rules, don'ts and suggestions--and reading that, all at once, whipped me into gear, shot at me a rush of adrenaline, and made me think hard about my writing and the writing process. I reacted strongest to the bits where Franklin flat out told me what not to do--don't start at the beginning when writing a story, don't use to be verbs, don't use flashback unless you want to sound like an amateur, don't tell sad stories (at least know that positive ones garner longer-lasting attention). I liked being told what not to do, yet I recognize that my willingness to obey him implies that I take him as an authority; he has experience and knowledge in this field (what he deems "the Secret" of writing), and that I lack.

I finished the book feeling enlightened, motivated, overwhelmed, a little naive, and surprised that just now I'm learning the rules of structure, outline, polishing and craftsmanship. It's always a little disheartening when you think yourself a great unique writer who can whip out a good story without much effort, only to have a man you've never heard of before tell you your approach is all wrong, and your story could use some more dynamism. Or that, if you've been struggling on a piece you're really passionate about, you might have the story choice all wrong or you have to cut out everything you love.

The most humbling part of this book for me was toward the end, as Franklin contemplates the rejection of one of his novels, when Franklin says, "My book wasn't working because I had avoided looking directly at what my characters were feeling. Why had I avoided it? Because I had built my whole psychic apparatus, my whole world view, on the premise that I was somehow different (which is to say better) than the people I wrote about. To look at them was to realize that I was no different, and that what was happening to them could as well happen to me. I was, in short, nothing special" (209). Franklin invites us to consider unpleasant truths of rejection, to consider ourselves as writers in relation to our characters, how we do or don't relate to certain ones, and how those differences or similarities sometimes manifest themselves as prejudices. This part of the book stood out to me.

Discussion Questions:

1) In chapter seven, "Structuring the Rough", Franklin writes, "...it does not make sense to begin at the beginning. The story doesn't pivot on the beginning , it pivots on the ending--so write that first. That way you know exactly what it is that you need to foreshadow" (158). What is your writing process like? How does it compare or contrast with Franklin's suggestions?

2) In the last chapter, Franklin admits that the rejection of his novel on accident medicine had to do with his inability to really relate to his characters. He says, "My book wasn't working because I had avoided looking directly at what my characters were feeling. Why had I avoided it? Because I had built my whole psychic apparatus, my whole world view, on the premise that I was somehow different (which is to say better) than the people I wrote about. To look at them was to realize that I was no different, and that what was happening to them could as well happen to me. I was, in short, nothing special" (209). Have you ever come into a similar conflict when creating your characters on the page? Do you ever "attempt to apply prejudice where only insight will do" (211)?

3) What do you as a writer see as your biggest responsibilities to the reader after reading this book?