The Awakening

The Awakening

A Story by Barry McGavin
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A remarkable discovery has unforseen consequences,

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© 2020 Barry McGavin


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You didn’t request comment, but I thought you would want to know, so…

In this, your profession is betraying you. During your basic education your training in writing was reports and essays, with a tiny fraction of it, fiction. Through college you wrote research papers and such, with perhaps a creative writing course that spent a week or two on fiction. And since that time, on the job it’s reports and other nonfiction applications.

But. In all that time, did anyone spend significant time explaining the difference in structure between a scene on the page and one on screen/stage? Did they define the elements of a scene, and why they end in disaster for the protagonist? If not, how can you write on that the reader will recognize as being one? Reading didn’t give yus the skills of writing fiction, any more than eating makes chefs of us.

The result? As you were trained and practiced, the writing of the story is fact-based and author-centric—the definition of nonfiction methodology. You, the narrator, in a voice devoid of any emotion not suggested by punctuation and a given word, explain and report. It works for you, of course, but you cheat. You know the characters, the location, the situation, the backstory, and the goal of the scene. So as you read, each line calls up images, backstory, and everything needed to make the scene live—all stored in your mind. For the reader, though, , each line calls up images, backstory, and everything needed to make the scene live—all stored in *YOUR* mind.

For example: First, you tell the reader that someone they know nothing about—not even gender, age, or what his PHD is in—is nervous for no reason the reader knows of. That’s a factoid, devoid of context (but not as you read). What can a reader do but say, “Uhh…okay.”?

Then, you tell them his gender, and that for two undefined years that could as easily be 1932 or 2361, he, and an undefined number of others, in some undefined specialty, have been performing undefined experiments in an undefined area of science. We have context for none of that, but we learn that it happened in an undefined area of Arizona? Would the story change had the research taken place in Chicago? If not, why mention that but not things of far more importance to THIS SCENE.

My point? Story happens, and does so in real-time. It’s not explained or talked about, if for no reason other then that the reader hasn't been made to want the data you’re giving them. You’re also placing effect before cause. First they HAVE DONE the research. Then we learn the scientific area of the research, and that they found something unknown. And then, after announcing all that, you leave the poor doctor tapping his toe in impatience backstage, while you ramble on with things irrelevant to the scene, like his relationship with his wife.

In fact, a full 848 words, or three and a half standard manuscript pages, pass before the poor b*****d gets to step on stage and the story actually begins.

The really short version: You’re trying to write fiction using nonfiction writing techniques. It can’t be done.

It’s not your fault, of course. We all leave school believing that the word “writing” that’s part of the profession we call, Fiction-Writing, refers to the skill we were given in school, and use daily. It doesn’t.

Why? Because different goals require different methodology. The goal of nonfiction is to inform, clearly and concisely. The narrator dispassionately explains and reports. History books use nonfiction skills. And who buys history books to read for fun?

Think of yourself reading a horror story. At some point the protagonist is poised to enter a darkened, and spooky, basement. As a reader, do you want the author to tell you that the protagonist feels a shiver of fear? Or do you want that author to make a shiver run down YOUR back? Learn, or feel? The answer is obvious, which is why the techniques of fiction are emotion-based and character centric—a methodology you weren't told exists as your teachers prepared you for the needs of employment.

You’ve heard, I’m sure, the old saying that in a lover’s quarrel there are three versions of the truth: Hers, his, and what really happened. So given those three truths, does it make sense that we, as writers, tell what really happened, in an entertaining and interesting way?

I’ve posed that to groups of hopeful writers, and they invariably agree, as a group that, we need to focus on what actually happened. And that belief explains why the rejection rate in the publisher’s office is 99.9% or worse, because nothing could be further than the truth. We choose our protagonist and present their viewpoint. Why? Because every decision they make, and every word they speak is the result of how THEY view the situation. How can we empathize with, or understand someone who is acting on deductions, beliefs, and imperatives we’re unaware of?

Your reader doesn’t want to learn what happened. That’s history, immutable and boring. Your reader wants to literally become the protagonist, and live the scene as that character, so realistically that if someone tosses a rock at the protagonist the reader ducks. And in your school years you literally spent zero time on how to do that.

To see how viewpoint can dramatically change the feel of a given situation, try this article:
https://jaygreenstein.wordpress.com/2011/09/22/the-grumpy-writing-coach-8/

And for why it’s necessary, this one:
https://jaygreenstein.wordpress.com/2015/05/13/inside-out-the-grumpy-writing-coach/

So, I know this is nothing like what you wanted to hear in response to posting the story, but because it is what you need to know… The thing to remember is that since the day you began reading you’ve selected only fiction that’s been created with the professional skills of the fiction-writing profession. You don’t see the skills in action, because, as they say, art conceals art. But you do see, and enjoy, the result of the use of those skills, and expect it—as your reader expects it of you. And that's the best argument I know of for acquiring the skills the pros take for granted.

You can find what you need in the library’s fiction-writing section, but for unknown reasons, the best book on the nuts-and-bolts issues of writing scenes that will sing to your reader is free on the site I link to below this paragraph. It won’t make a pro of you. That’s your job. But it will give the knowledge and tools to do it with, if it’s in you. And it’s the book that resulted in my first sale, after having written six many-times submitted novels. So give it a try. Use the leftmost button to download.
https://ru.b-ok2.org/book/2640776/e749ea

For an overview of some of the issues within that book, you might look at some of the other articles in my WordPress Writing blog.

So jump in. And while you do, hang in there, and keep on writing.

Jay Greenstein
https://jaygreenstein.wordpress.com/category/the-craft-of-writing/the-grumpy-old-writing-coach/

Posted 5 Years Ago


Hi, Barry. Your story took me back to my science classes in junior high and high school. I wasn't much of a student, but there were some things I was able to retain. If I heard the story right, Galileo recanted his heliocentric theory under the threat of execution for heresy. Here is John Bolster trying to present his findings and he is being mocked and grilled. How did the scientists before him do it. Where did their fortitude come from? Where would Doctor Bolster be without Poonam Singh?
Getting it from people in his own field must have been terrible. In the beginning of the story, he's getting it from literaries. He was trying to be a good husband and escort his wife to a party. A bunch of people who live in fictional worlds all day everyday and they are putting his science down? I'm wondering how much this guy drank at the parties.
In the beginning of the story, you mention the SPA is used. Later, when you talk about the party, he says he works at the SPA. Is the SPA a machine or a place? I was confused about that. I was also confused about the applause and the voice that said, "I knew it!" I thought you were giving a voice to the applause. Maybe mention specifically that he heard a voice. Then again, this could be the way I was reading it.
I was feeling a little embarrassed for Doctor. People are walking out in the middle of his presentation. He is referring to the quarks as dreams? Preposterous! An atom is made of quarks and quarks are made of dreams? I was wondering about our own universe as I was reading. Could this universe, ours or the one you created, be just a dream. I read somewhere our universe could be nothing more than an atom in a giants fingernail. Maybe you or I have a universe in one of our fingernails. Whose? God's? Dr. Bolster is mixing science and religion? Is he going to be run out on a rail? Mentioning God or religion in a scientific theory. Can you get a doctorate revoked?
I remember reading something else about time and how it seems slow to humans but fast to God or gods. What I read dealt with the Creationist Theory. The universe was created in six days. It wasn't done in six days, but in 6,000 years. Time moves so fast for the Creator that it seemed like six days to him.
Speaking of divine intervention, Stephen Hawking comes in and gives legitimacy to this theory. Talk about reviving a defeated scientist. The man may have been considering the theory he had been working on and all of the data and studying to support it. Dr. Hawking came at the right time for Dr. Bolster.
I was wondering as I read this if this was just a dream, but whose? Dr. Bolsters? A giant? Another scientist? Or was it the end of the world?

Posted 5 Years Ago



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Added on August 6, 2020
Last Updated on August 6, 2020

Author

Barry McGavin
Barry McGavin

Port Coquitlam, B.C., Canada



About
I'm a retired chemistry teacher, jazz guitarist, Zumba instructor and animal lover. more..