Wednesday, September 28, 2011

Becoming a Writer - Flannery O'Connor "Weak Specificationor Weak Details"

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Weak Specification or Weak in Details

I have found that the stories of beginning writers usually bristle with emotion, but whose emotion is often very hard to determine. Dialogue frequently proceeds without the assistance of any characters that you can actually see, and uncontained thought leaks out of every corner of the story. The reason is usually that the student is wholly interested in his thoughts and his emotions and not in his dramatic action, and that he is too lazy or highfalutin to descend to the concrete where fiction operates. He thinks that judg­ment exists in one place and sense-impression in an­other. But for the fiction writer, judgment begins in the details he sees and how he sees them.
Fiction writers who are not concerned with these concrete details are guilty of what Henry James called
"weak specification." The eye will glide over their words while the attention goes to sleep. Ford Madox Ford taught that you couldn't have a man appear long enough to sell a newspaper in a story un­less you put him there with enough detail to make the reader see him.
I have a friend who is taking acting classes in New York from a Russian lady who is supposed to be very good at teaching actors. My friend wrote me that the first month they didn't speak a line, they only learned to see. Now learning to see is the basis for learning all the arts except music. I know a good many fiction writers who paint, not because they're any good at painting, but because it helps their writing. It forces them to look at things. Fiction writing is very seldom a matter of saying things; it is a matter of showing things.
However, to say that fiction proceeds by the use of detail does not mean the simple, mechanical piling-up of detail. Detail has to be controlled by some overall purpose, and every detail has to be put to work for you. Art is selective. What is there is essential and creates movement.
Now all this requires time. A good short story should not have less meaning than a novel, nor should its action be less complete. Nothing essential to the main experience can be left out of a short story, All the action has to be satisfactorily accounted for in tenus of motivation, and there has to be a beginning, a middle, and an end, though not necessarily in that order. I think many people decide that they want to write short stories because they're short, and by short, they mean short in every way. They think that a short story is an incomplete action in which a very little is shown and a great deal suggested, and they think you suggest something by leaving it out. It's very hard to disabuse a student of this notion, be­cause he thinks that when he leaves something out, he's being subtle; and when you tell him that he has to put something in before anything can be there, he thinks you're an insensitive idiot.
Perhaps the central question to be considered in any discussion of the short story is what do we mean by short. Being short does not mean being slight. A short story should be long in depth and should give us an experience of meaning. I have an aunt who thinks that nothing happens in a story unless some­body gets married or shot at the end of it. I wrote a story about a tramp who marries an old woman's idiot daughter in order to acquire the old woman's au­tomobile. After the marriage, he takes the daughter off on a wedding trip in the automobile and abandons her in an eating place and drives on by himself. Now that is a complete story. There is nothing more relat­ing to the mystery of that man's personality that could be shown through that particular dramatiza­tion. But I've never been able to convince my aunt that it's a complete story. She wants to know what happened to the idiot daughter after that.
Not long ago that story was adapted for a television play, and the adapter, knowing his business, had the tramp have a change of heart and go back and pick up the idiot daughter and the two of them ride away, grinning madly. My aunt believes that the story is complete at last, but I have other sentiments about it-which are not suitable for public utterance. When you write a story, you only have to write one story, but there will always be people who will refuse to read the story you have written.
And this naturally brings up the awful question of what kind of a reader you are writing for when you write fiction. Perhaps we each think we have a per­sonal solution for this problem. For my own part, I have a very high opinion of the art of fiction and a very low opinion of what is called the "average" reader. I tell myself that I can't escape him, that this is the personality I am supposed to keep awake, but that at the same time, I am also supposed to provide the intelligent reader with the deeper experience that he looks for in fiction. Now actually, both of these readers are just aspects of the writer's own personal­ity, and in the last analysis, the only reader he can know anything about is himself. We all write at our own level of understanding, but it is the peculiar characteristic of fiction that its literal surface can be made to yield entertainment on an obvious physical plane to one sort of reader while the selfsame surface can be made to yield meaning to the person equipped to experience it there.
Meaning is what keeps the short story from being short. I prefer to talk about the meaning in a story rather than the theme of a story. People talk about the theme of a story as if the theme were like the string that a sack of chicken feed is tied with. They think that if you can pick out the theme, the way you pick the right thread in the chicken-feed sack, you can rip the story open and feed the chickens. But this is not the way meaning works in fiction.
When you can state the theme of a story, when you can separate it from the story itself, then you can be sure the story is not a very good one. The meaning of a story has to be embodied in it, has to be made con­crete in it. A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell him to read the story. The meaning of fiction is not abstract meaning but experi­enced meaning, and the purpose of making state­ments about the meaning of a story is only to help you to experience that meaning more fully.
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