Storytelling: Suspense

Storytelling is the essence of communication. The elements of storytelling are like letters of the alphabet. When you know how to use them, you can tell your best story.

Element 20: Suspense

If you want to keep an audience hooked, don’t tell them how the story ends.

Case study: Relocating C Warncke Writer

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What it is:

After fifteen years in the UK and Europe, C Warncke is moving to the American South, and there is absolutely no telling how things will turn out.

Why it matters:

Successful stories combine action with unforeseen consequences. In this case the action is a person — me — leaving behind her entire life (country, cat, cutlery) to move thousands of miles away and live with someone she met on Tinder.

As for consequences, who knows?

Romance, disaster, or reinvention are all distinct possibilities.

In typical damn the torpedoes fashion I charged into this with minimal consideration for what happens if it goes, as the Brits say, tits up. I’m as curious as anyone to see how things turn out.

If nothing else, it will make a great story. And the perfect conclusion to the Elements of Storytelling series. Thanks for following and stay tuned for more storytelling adventures.

In other words:

“Every life, Transtromer writes, “has a sister ship,” one that follows “quite another route” than the one we ended up taking. We want it to be otherwise, but it cannot be: the peoploe we might have been life a different, phantom life than the people we are.”
~Cheryl Strayed Tiny, Beautiful Things

Practice: “Create characters that live and breathe on the page… I realised I had come to know some of these people so well that the idea that something bad was going to happen to them had become almost unbearable. I was turning each page with a sense of dread and it dawned on me that here was the most satisfying way to create suspense.”
~Mark Billingham via The Guardian

Remember: “We all live in suspense from day to day; in other words, you are the hero of your own story.” ~Mary McCarthy

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Storytelling: Framing

Storytelling is the essence of communication. The elements of storytelling are like letters of the alphabet. When you know how to use them, you can tell your best story.

Element 19: Framing

What a story is about, and the conclusion it reaches, depends on how you frame it.

Case study:

Hillary Clinton and Donald Trump

hill-trump

Who they are:

Respectively, the Democratic and Republican candidates in the 2016 American presidential election. Clinton won the popular vote by an unprecedented margin. Trump won the majority of Electors and is slated to become the next President of the United States.

Why it matters:

The bitter, split decision presidential election highlighted the fact that there is no single “story”. What we think a thing means and what we believe about people and events, is drawn from a rich mass (or mess) of facts, ideas, information and preconception.

After last week’s storytelling post a reader rebutted my assertion that Hillary Clinton is “a experienced, qualified, sane, humane politician”:

Surely this must be qualified as “by comparison?” Isn’t it a fact that Hillary Clinton:

1) Supported the Iraq War forcefully and was a key proponent as an opposition pol from NY

2) Supported overthrow of Libya forcefully

3) Supported overthrow of Syria forcefully

4) Was endorsed by entire Bush family and most of GWB cabinet officials

5) Received 100s of millions from wall street banks and multi-national corporations

So, if Hillary Clinton wasn’t positioned against Trump and you judged her by her policies she would be a rightwing neo-con Republican.

I think perhaps you should also consider the story telling of the Clinton campaign which would argue that perceived racism and sexism are more important than real policies that have killed hundreds of thousands of Muslims in Iraq, Afghanistan, and other countries.

 

This is a perfect example of framing. My narrative frames Hillary’s experience and views as a positive; my reader highlights different, but equally legitimate, information that casts her in a different light. Trump can, likewise, be any number of things depending on how you frame him. He is either a robust example of American iconoclasm or a racist shit. He went bankrupt and made billions; the story depends on what facts you put in the picture.

In other words:

“While reality itself does partly determine the meaning we assign to it, it doesn’t insist on any one specific meaning. So, while we all live in the same reality, we interpret it differently. Most of the time, the differences are negligible: at the day-to-day level, we agree sufficiently about most things. But some differences are radical. And that’s what politics is about.

Politics is a colossal magnification of the differences in how we perceive the world around us. And an election is a simplified, brief magnification of that. In an election, time stops, and a complex, gradually evolving jumble of differences of opinion is frozen in a single statistical figure.” Rob Wijnberg via The Correspondent

Practice: “All I have to do is to write down as much as I can see through a one-inch picture frame. This is all I have to bite off for the time being. All I am going to do right now, for example, is write that one paragraph that sets the story in my hometown, in the late fifties, when the trains were still running. I am going to paint a picture of it, in words, on my word processor.” Anne Lamott, Bird By Bird

Remember: “One person’s craziness is another person’s reality.” ~ Tim Burton

Elements of Storytelling 13: Accessibility

Storytelling is the essence of communication. The elements of storytelling are like letters of the alphabet. When you know how to use them, you can tell your best story.

Element 13: Accessibility

Stories are most effective when they are accessible. Don’t confuse your audience with florid language or complexity for its own sake.

vino-5

Case study: Vino y Co

What it is:

A wine shop in Ibiza run by father-daughter team Jeroen and Rosa Hamersma. The unpretentious oenophile sanctuary is as much an wine-education centre as it is a shop, thanks to its proprietors’ delight in sharing their knowledge. This makes it a magnet for chefs, sommeliers, locals and travelling wine buffs alike.

Why it matters:

Wine is often swathed in mystery, or at least pretension, and many shops actively perpetuate this elitism. Rosa and Jeroen take an opposite tack. The believe in making wine simple so everyone can enjoy and appreciate it. Jeroen taught himself about wine by buying almanacs in the ’80s in his native Amsterdam and drinking his way through vintages and varietals. He has a couple decades head start on Rosa, but she is catching up fast, laptop on the shop counter to answer any questions.

Rather than emphasise the arcane or technical, they focus on the communal, practical aspects of wine culture. Information about grapes, regions, winemakers and techniques are woven into stories, reinforced by generous samples of the wines in question.

Vino y Co grows its business year on year, and has fanatically loyal customers, all thanks to its dedication to making wine accessible.

In their own words:

Wine is all about taste. And about tasting. It’s not difficult.

Who said that wine shops should be boring? Wine is fun! So shopping for wine is fun!

Read more

Practice: “From time to time, all of us make the mistake of sending an email, turning in a paper, or handing a report to the boss without rereading what we’ve written. Raise your right hand and say this aloud: “I promise to reread my writing at least once before I consider it finished. If possible, I’ll read it aloud.” Now that you’ve made the pledge, your ears can help you simplify any unnecessary complexity in your writing.” Ann Edwards via Grammarly

Remember: “Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity.” ~Charles Mingus

Elements of Storytelling 3: Inspiration

Storytelling is the essence of communication. Whether you are a writer, entrepreneur or politician your story is how you connect with people.

The elements of storytelling are like the letters of the alphabet. Once you know them, you can put them together to tell your story in the best way possible.

Element 3: Inspiration

Great stories are not plucked from the air; they grow from the fertile soil of stories that were told before.

Case study: Eivissa: The Ibiza Cookbook by Anne Sijmonsbergen

eivssa cover

What it is:

A cookbook based on, and inspired by Ibiza food. What it isn’t is an attempt to slavishly recreate traditional Ibicenco recipes, or a generic Mediterranean cookbook. The author lived on an organic farm in Ibiza for a dozen years, growing local produce, working with other farmers, and hanging out with rare-breed animal experts, fishermen, and artisan cheesemakers, before she put proverbial pen to paper.

 

Why it matters:

This long period of absorbing and exploring the food culture freed Anne to create recipes that are unique to her but capture the essence of Ibiza. She transforms stolid island fare like flaó — a dense, old-fashioned cake — into something fresh and suited for a modern palate. Each recipe becomes a story in its own right, revealing the history and origin of its components and the author’s inspiration.

The Evissa story:

Ibiza is on the cusp of a food revolution. The island’s traditional farming and fishing culture has been supplemented with a wave of chefs and producers making artisan products and vibrant food.

Now Eivissa, the first recipe book to showcase the incredible Ibicenco dishes Ibiza cuisine has to offer, reveals how to recreate the tastes of the white island in your own home.

Divided into seasonal chapters to reflect the ingredients in Ibiza, these are gorgeous recipes reflecting the heritage of the cuisine, yet with contemporary twists. Sample a really simply Grilled Courgette Ribbons, Asparagus & Mint Tostada from Spring, for example, or a Grapefruit & Juniper-Encrusted Pork Salad. Try Steamed Mussels with Samphire or Chicken with Roasted Figs from Autumn. Or treat yourself with a Ricotta Pine Nut Cake or Spiced Chocolate Truffles.

Full of stunning photography shot on location in Ibiza, both of the recipes and the island’s beautiful backdrop, these are recipes that are full of energy, warmth and enjoyment.

Read more here

Practice: Plenty of writing ideas are culled from great tales that have been told throughout history. Some of these have been converted into formulas that writers can use as storytelling guidelines.

From the three-act structure to the hero’s journey, formulas have been criticized as making stories dull and predictable yet they have also been credited with providing writers a framework in which to create.” via WritingForward.com

Remember: You can’t wait for inspiration. You have to go after it with a club.” – Jack London

Agents – The Numbers Game

Yesterday I hit 75 on my agent hunt. Seventy-five lines on an excel sheet each with name, website, email, and a note of the date and pitch delivered. I may as well have made 75 copies of my novel, stood at the top of a cliff and chucked them ceremoniously into oblivion. This shouldn’t discourage me (most of the time I know my duty is to write well, and the rest be damned) but it does.

When another brusque rejection arrived I burst into tears. Voices babbled in my head: You are never going to publish a novel. If you do, nobody is going to read it. You are a fake, a flake, a lazy greedy over-educated under-producing parasitic loser who should have gotten a real job before it was too late. You are going to die broke and alone. You suck. Et cetera.

This could be true, if I let it. But after bawling for a few minutes, sense started to leach in. All the sages I respect (dead and living) make the same case:

“You have the right to work, but for the work’s sake only. You have no right to the fruits of work” ~Bhagavad Gita
“[Do] not long for anything if it be not given” ~Epictetus
“For us there is only the trying” ~TS Eliot

Some days, trying is a drag, the last thing I want to do. The alternative, though, is to let all the miserable, mean, self-pitying thoughts turn themselves into reality. As long as the spreadsheet is growing, there’s hope.

effort

Running, Writing and Creativity

An excerpt from an essay I wrote on my relationship with running, writing, and creativity.

Read the full piece at The Nervous Breakdown

Run time

Run time

I now recognise the two things my soul needs: running and writing. Running, first, because it is obvious, though the less important of the two. Like good grammar, it is essential to my sense of order and well-being, but I only make a fuss in its absence. A nagging pain in my foot warns me to leave my trainers under the bed, unlaced. My brain knows better than to aggravate an injury but the rest of my body is twitchily uninformed. There is nothing wrong with me apart from a sense of abstraction and discontent. Without the discipline of running and long breaths of cold, cleansing air I am inefficient, fretful, soft in a bruised-fruit kind of way.

Without creative activity my brain fidgets and stews. As with running, the longer I go not writing the more I yearn to and, paradoxically, the more difficult it becomes. After a few days off I feel both dread and pleasure at the prospect of a run. Similarly, when I don’t write the idea of writing fills my head, swells to such vast importance that the process grows alien and terrifying. My fractious mind elides twenty-odd years of devotion and discipline and whispers “you can’t,” or “you can, but it won’t be any good.” Absence opens the door and Doubt saunters in carrying a funhouse mirror where past and future crush unbearably against the present. Anxiety ripples through me like a tiny earthquake, shimmying books off shelves and setting my internal crockery a-rattle. The Fear descends: my book will remain unwritten; questions scribbled in notebook margins will remain unexplored; I will tell no stories; never again will I craft a beautiful essay or forget time as I play a private game with my twenty-six favourite toys.


What co-creative activity gets your writing flowing? Share in the comments.

Poetry Challenge – East Coker by TS Eliot

Kat & I

Kat & I

Nobel Peace laureate and Burmese democracy campaigner Aung San Suu Kyi spent over 20 years under house arrest. She says that one of the things that kept her together was memorising poetry. Once it’s in your head, she added, nobody can take it away from you. Thinking about that inspired me to set myself a poetry challenge: memorise one poem a month during 2015.

That will give me a stock of a dozen poems to carry with me everywhere, always.

For January I’ve chosen a portion of ‘East Coker’ from TS Eliot’s Four Quartets. My dear friend Kat introduced me to this poem a few years ago and it has become deeply rooted in my psychic landscape, both for itself and because it reminds me of how blessed I am by her friendship. This is for you my love!


East Coker

So here I am, in the middle way, having had twenty years—
Twenty years largely wasted, the years of l’entre deux guerres
Trying to learn to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it. And so each venture
Is a new beginning, a raid on the inarticulate
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion. And what there is to conquer
By strength and submission, has already been discovered
Once or twice, or several times, by men whom one cannot hope
To emulate—but there is no competition—
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious. But perhaps neither gain nor loss.
For us, there is only the trying. The rest is not our business.

Home is where one starts from. As we grow older
The world becomes stranger, the pattern more complicated
Of dead and living. Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment
And not the lifetime of one man only
But of old stones that cannot be deciphered.
There is a time for the evening under starlight,
A time for the evening under lamplight
(The evening with the photograph album).
Love is most nearly itself
When here and now cease to matter.

Old men ought to be explorers
Here and there does not matter
We must be still and still moving
Into another intensity
For a further union, a deeper communion
Through the dark cold and empty desolation,
The wave cry, the wind cry, the vast waters
Of the petrel and the porpoise. In my end is my beginning.