Photo by Hisu Lee at Unsplash.com
In fiction and in life
A life is made of moments. It is stitched together from the things you remember most vividly the peaks and the valleys, the turning points, the places where you paused, or hurried, or changed direction.
In fiction, these are the things that will linger in a readers mind after the story is over.
And this is when a visual medium definitely has a edge on the written word. A moment in a movie can hinge on a gesture, an exchange of meaningful glances without a word being spoken. It can be the tiniest change of expression.
In an episode of the TV series The Mentalist a few years ago, one of the characters was a young man who was slow, developmentally disabled. The character presentation was utterly perfect the open and trusting expression on the boys face, the way everyone spoke to him with an edge of pitying kindness and his apparent grateful acceptance of that attitude right until the moment when everything changed.
The boy whom we had thought of as simple-minded was sitting in a chair in an interrogation room when his bluff was called and something indescribable happened. His eyes hardened and sharpened, somehow, and you realized with an electric jolt that he had been stringing everyone along in an expert con, that this was no simpleton but instead a very cold, calculating and dangerous mind.
Sometimes the entire emotional landscape of a character frustration, hatred, love, triumph, envy, pity, sorrow, exultation, surrender, regret, fury, even a lapse into full and chaotic madness can be distilled into a single gesture, a single glance. What you can convey in less than thirty seconds of film time might take you a chapter to convey properly in a book.
This is the thing with the written word. It requires more mental engagement. A visual moment is seen, and shared, and immediately understood. A written moment needs more set-up, and develops more slowly in your head; it is probably never quite the same for any two readers of the same given scene because what is built up in each readers head is different and utterly beyond any writers control.
It is not to say that the written moments are the lesser. They can be more enduring because of the simple fact that the readers paint them with their own imagination, their own mental scenery, and etch it into permanence in their mind. But a book needs time, and effort, and attention to do this. You can look at a scene on a screen and you can respond immediately, viscerally, because you are responding to what your senses are handing you, to what you can see and hear.
But you have to give a book far more than that. You need to get deeply enmeshed, you need to reach in and wrap the words around you like so many tangled Christmas lights. A good book, one with good moments, becomes a lifelong friend and one to which you will return again and again because of that moment that it shared with you.
There are dozens of books with moments I remember, where the plot revolves around those moments, where the characters are built and wrapped around those moments. Guy Gavriel Kays Tigana has a lot of such moments. If you havent read that remarkable book I suggest you hie off and get yourself a copy now.
There are such moments in all of my novels. In Midnight at Spanish Gardens, for example, there is one which has been singled out by many readers. It occurs when John, my young doctor, is on rotation in the childrens cancer ward. In the beginning, he copes by treating the kids simply as patients with a disease and he as The Doctor who has all the answers.
The moment comes when he realizes how utterly beyond his control it all really is and everything instantly changes. The patient becomes a little dying boy; the disease becomes a monster against which he is helpless. And that breaks him
Before that moment he was one person, after it he was another. And there is no reconciling those two people. In the blink of an eye he has crossed from one world into another and he cant go back.
Writers have to invest far more into that moment because all they have with which to evoke that visual and sensory response from you, are the words on the page. A writer doesnt have the luxury of showing a viewer the transformation in a characters personality just because the viewer is watching that characters eyes change from good natured, slightly simple to cold calculating potential serial killer.
A writer has to describe this to you, the reader, and then you have to visualize it there is an extra step in there, and you BOTH have to work harder for it, writer and reader alike.
As a writer, I am sometimes profoundly envious of the way that a movie scene of less than a minute, can convey a feeling, an attitude, that is an instant gratification something that it would take me pages and pages to properly present and explore in a book. But also as a writer I am also grateful that the medium of the written word allows me a more enduring connection with a readers mind because what I present in those pages is not so much the destination as a map and then I allow the reader to create their own destination which will color and enrich their own experience of the things that I wrote.
A writer allows readers to create their own moments.
Tea With The Duchess
The latest edition of my newsletter, Tea With The Duchess, has just been sent out to subscribers. It contains news about my latest fantasy novel, “Wings of Fire”, other projects I am working on, and plans for the coming year.
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Wired asked writers to create 6-word SF stories
“He read his obituary with confusion.” – Steven Meretzky
More from Wired HERE
Quote of the Day
“Occasionally, there arises a writing situation where you see an alternative to what you are doing, a mad, wild gamble of a way for handling something, which may leave you looking stupid, ridiculous or brilliant you just don’t know which. You can play it safe there, too, and proceed along the route you’d mapped out for yourself. Or you can trust your personal demon who delivered that crazy idea in the first place. Trust your demon.” ~ Roger Zelazny
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