I got your message. For now read the secret book. I'm afraid that if I give you "directions" that might spoil you discovering your own secret "angle" on the subject. Make sense?
I suppose a suicide note would be more insightful of character and motivating toward plot (round, if you will?) than a ransom note which introduces plot and character by archetype but very quickly (flat, if you will?)
Are both about pace or are they different because of taste?
Big congratulations to Karin! I remember Chuck’s first encouraging words to you were leaning into Shirley Jackson and “We Have Always Lived in the Castle!” Very very happy for you!!!!!!
Aww, that's so nice of you! It's going to be published on the Fractured Lit website sometime soon(ish, I think?). It'll also be published in their annual anthology early next year, but there's no need to buy that when you can read it for free. 🙂
I would like to refer people to Stephen Graham Jones’s The Long Trial of Nolan Dugatti which relied on suicide notes, among other narrative techniques.
I love this because I struggle with thinking of creative ways to introduce off-beat or off-tone information about my characters. This method circumvents some of the exposition heavy alternatives. I especially like your idea of using it as a way to setup up expectations for later negation. Or even expectations to be exemplified in some penultimate I-fucking-told-you-so moment.
Wouldn't it have been interesting if Harold in "Harold and Maude" could've articulated something in a suicide note, early in the film, then achieved that goal after we'd forgotten the note?
As it stands, Harold's story about the Chemistry explosion feels a bit expository and pulled-out-of-his-ass. Even with him weeping, that explanation feels leaden.
Thank you for doing what you do. I am new to your teaching. May I ask, do you have any current or contemporary writers/writings that you recommend as good examples of ruthless exclusion?
Where to start? Want a stripped down, voice-driven read? Look for 'Story of my Life' by Jay McInerney. Anything by Mark Richard or Thom Jones.
"Ruthless Exclusion" simply means to cull anything that doesn't somehow add to the story. Every bit of description must somehow describe the character's take on the world.
Thank you. I’ve now read a few from The Ice at the Bottom of the World and am beginning The Pugilist at Rest. This is informative.
My own broken heart today is learning last week that my beloved pup Rory won’t make it much longer. This was unexpected news. So I won’t be joining the group tonight. I look forward to joining you again in autumn.
You would be the exception. Picture the book shopper: Limited time, lots of life stress, looking for respite and distraction. Wouldn't it work better to mislead that shopper with joy up front?
Because SOMEONE has to do it: the first rule of the big Secret Thing is that you do not talk about the big Secret Thing.
Suicide note as a plot device is a compelling idea. I wrote a short piece that the reader learns in the last paragraph or so that it’s a suicide note (if anyone is curious, check out https://bryanwiler.substack.com/p/roquets-key) but this is a different angle that’s worth playing with.
Didn't hear about any of what?? 😉🤫🫢
This could work, but I need to twist it in some way.
I got your message. For now read the secret book. I'm afraid that if I give you "directions" that might spoil you discovering your own secret "angle" on the subject. Make sense?
SHHHHHHHH! Just don't talk about it!
I suppose a suicide note would be more insightful of character and motivating toward plot (round, if you will?) than a ransom note which introduces plot and character by archetype but very quickly (flat, if you will?)
Are both about pace or are they different because of taste?
Congratulations Karin Kohlmeier
Do we get more homework in the meantime?
Alas, I have tons coming your way. Some you will love.
Yeah!!!!
Yay, Karin!!!
Right?!
If you’re looking to write a good, “what led to this…” this very informative book is a fascinating read. https://a.co/d/3pk50jJ
Helped me understand the inner workings of it. It grounds the character in real things that lead up to suicide.
I missed it!!
Love this. All of it.
Big congratulations to Karin! I remember Chuck’s first encouraging words to you were leaning into Shirley Jackson and “We Have Always Lived in the Castle!” Very very happy for you!!!!!!
Chuck and Chelsea are all over my story that got accepted. I wrote it for the Serial Killer class they did, and of course their advice was phenomenal.
good stuff. when it comes out tell us the title so we can buy it. 👍
Aww, that's so nice of you! It's going to be published on the Fractured Lit website sometime soon(ish, I think?). It'll also be published in their annual anthology early next year, but there's no need to buy that when you can read it for free. 🙂
I would like to refer people to Stephen Graham Jones’s The Long Trial of Nolan Dugatti which relied on suicide notes, among other narrative techniques.
I love this because I struggle with thinking of creative ways to introduce off-beat or off-tone information about my characters. This method circumvents some of the exposition heavy alternatives. I especially like your idea of using it as a way to setup up expectations for later negation. Or even expectations to be exemplified in some penultimate I-fucking-told-you-so moment.
Wouldn't it have been interesting if Harold in "Harold and Maude" could've articulated something in a suicide note, early in the film, then achieved that goal after we'd forgotten the note?
As it stands, Harold's story about the Chemistry explosion feels a bit expository and pulled-out-of-his-ass. Even with him weeping, that explanation feels leaden.
Thank you for doing what you do. I am new to your teaching. May I ask, do you have any current or contemporary writers/writings that you recommend as good examples of ruthless exclusion?
Where to start? Want a stripped down, voice-driven read? Look for 'Story of my Life' by Jay McInerney. Anything by Mark Richard or Thom Jones.
"Ruthless Exclusion" simply means to cull anything that doesn't somehow add to the story. Every bit of description must somehow describe the character's take on the world.
Thank you. I’ve now read a few from The Ice at the Bottom of the World and am beginning The Pugilist at Rest. This is informative.
My own broken heart today is learning last week that my beloved pup Rory won’t make it much longer. This was unexpected news. So I won’t be joining the group tonight. I look forward to joining you again in autumn.
Chuck, you say that no reader wants to enter into a depressing story...
But I do!
You would be the exception. Picture the book shopper: Limited time, lots of life stress, looking for respite and distraction. Wouldn't it work better to mislead that shopper with joy up front?
Aaaah, so that's why nobody reads my stuff!
Because SOMEONE has to do it: the first rule of the big Secret Thing is that you do not talk about the big Secret Thing.
Suicide note as a plot device is a compelling idea. I wrote a short piece that the reader learns in the last paragraph or so that it’s a suicide note (if anyone is curious, check out https://bryanwiler.substack.com/p/roquets-key) but this is a different angle that’s worth playing with.