Do your feelings about an author affect your feelings about his or her work?

Today’s post from Erika Dreifus deserves a look-see. She comments on a recent NY Times essay by Margot Rabb entitled “Fallen Idols,” then adds her own reflections, touching on various writers with Anti-Zionist or antisemitic beliefs, such as T.S. Eliot and Alice Walker (the latter of whom has recently made headlines). I invite you to read both pieces (the links are embedded above).

An interesting aspect of the writer-reader relationship that Rabb touches on is that readers get to step inside the brains of authors. For this reason, there are some Chareidim who only allow their children to read books written by people who are either Orthodox Jews themselves, or are otherwise respected and considered to have good character. While I don’t have this “policy” myself, I do understand that it’s reflecting a genuine concern. Authors don’t have to have a conscious agenda to slip all sorts of allusions to their beliefs in their work. For example, English authors are particularly well known for their antisemitism, which pops up in all sorts of weird places (Georgette Heyer’s The Great Sophy, several works by Dickens, and so on). The science-fiction/fantasy author Phillip Pullman is a proud atheist, and his work reflects this viewpoint.

Then again, if an author uses their money to donate to causes we don’t agree with, a political cause that does not have anything to do with their writing, is that a reason shun their work? Or, to take it a step further, protest their work?

One of the commentators on Erika Dreifus’s blog mentions Orson Scott Card. There are people who want to picket the movie adaptation of his book, Ender’s Game, because they disagree with his political and religious beliefs. (I happen to not agree with the commentator’s assessment of Card, but he’s a good example.) Ender’s Game does not mention the particular beliefs that the protesters find repulsive in Card’s public statements.

Personally, I can see forgoing a trip to the theater, or skipping a book, if you disagree with an author or artist. But a public protest seems excessive to me unless the novel/play/whatever is actively preaching the message you disagree with in that particular piece of work.

How likely are you to read a book by someone whose character is deeply flawed or who espouses beliefs you find repugnant?

Having a funny day?

laughing hyena

Even hyenas know when not to laugh.

A couple days ago, I read this post on the Florida Writers Conference Blog (I know I’m not from Florida, but I happen to really like this blog) about humor. And there’s a fun overview of contemporary religious Jews in comedy right now on Aish.com. So I was already contemplating the subject when I spotted an interview with Ruth Wisse on Tablet about her new book, No Joke.

Ten minutes in, Wisse talks about secular Jewish vs religious humor. If you’re a Jewish writer, it’s worth listening just for that bit.

The conversation as a whole gives a really interesting spin on Jewish comedy, but the most fascinating part is the end of the interview Continue reading

Helpful tools to plot your story

man and woman in library

“Excuse me, sir. Do you happen to remember that story where that guy dies and one of his sons thinks the other did the crime, but it turns out to be the mother instead?”

I was reading a post by Noelle Sterne on Writer’s Digest today where she describes “How to Prevent Predictable Plots.” She cites Georges Polti, who listed 36 classic plots which are constantly used and reused in literature and drama. (Sterne suggests that it’s inevitable you’ll use one of these basic plots, but that you can set yourself apart and introduce unpredictability through the details.)

Intrigued, I went to a description of these “dramatic situations.” Continue reading

To outline, or not to outline, that is the question.

I just viewed this interesting slideshow on Flavorwire containing outlines by famous writers. I use “outlines” in a broad sense–several were more like graphic organizers than true outlines. I had a weird reaction to the piece.

Usually, I start stories with clusters or notes, not with actual outlines, unless we’re talking something big–a serial (even a mini-serial) or a novel. Sometimes, I cross out and draw arrows to rearrange the elements so often, I end up rewriting the whole thing a few times because I no longer can read my own diagrams.

In most cases, these scribbles remain private. However, I happen to be working on a project right now where the publisher requested an outline first, but that’s never really happened before.

Several of my friends tell me they just start writing. They skip the outlines, diagrams, and charts and words just start to flow.

This slideshow bizarrely made some part of my brain do a superiority dance. “I am in good company with other prewriters,” it seems to say. “Just look at me with the likes of Henry Miller, William Faulkner, Sylvia Plath and Joseph Heller!”

This is utter nonsense. Plenty of writers do just fine without scribbling diagrams, outlines, or the like first, particularly if they are writing short form.

Are you an outliner? Why or why not?