
A Memoir Of The Craft
With all the forays into creative writing over the past year(s), I’ve developed a deeper desire to know more about the craft. After all, if you want to know if you’re headed in the right direction, why not snag a copy of
On Writing and pick the brain of one of the more skilled writers of our time? Truth be told, I’ve never been a big Stephen King follower – certainly not like many others I know. I’ve read a few of his books and enjoyed them, but I wouldn’t throw him into that “I must devour whatever comes next” author categories. I don’t know if I even have that category reserved as I don’t read as much as I should – Stephen King’s Writer’s Cardinal Sin #1.
Is “cardinal sin” perhaps too harsh a term? Maybe, but Stephen King’s “Hey, you might want to do this” just lacks panache. Stephen King believes a writer should read as much as possible, wherever possible, and whenever possible. He details many of the instances where he can be found with his nose in a book and, no surprises here, they don’t necessarily include the bathroom. He makes salient points for developing your style by knowing how others present their material so you may find your own voice. It makes perfect sense and it’s advice I’ve been trying to follow.
I don’t want to spill everything out here, because honestly, the book is an excellent read and well worth your time if you have any desire to hone the craft of writing or enjoy anecdotes from one of the horror genre’s favorite sons. I knew I was going to enjoy this book when I read the second foreword:
This is a short book because most books about writing are filled with bullshit. Fiction writers, present company included, don’t understand very much about what they do – not why it works when it’s good, not why it doesn’t when it’s bad. I figured the shorter the book, the less the bullshit.
One notable exception to the bullshit rule is The Elements of Style by William Strunk Jr. and E. B. White. There is little or no detectable bullshit in that book. (Of course it’s short; at eighty-five pages it’s much shorter than this one.) I’ll tell you right now that every aspiring writer should read The Elements of Style. Rule 17 in the chapter titled Principles of Composition is “Omit needless words.” I will try to do that here.
So what does this all have to do with the title of the post? Simple. Like many professions, you rely on your toolbox to provide you with the necessary means to perform your job. Perhaps it’s tools in the literal sense, but it may also be used in the figurative sense as it simply refers to the devices you utilize to perform your desired job. So, as Mr. King details the elements of a successful writer’s toolbox (read the book for specifics, seriously), one can find a correlation to an improviser’s toolbox.
The particular piece that is of importance to improvisers – moreso the fledgling ones, but veterans can benefit from as well – is the absence of pre-determined plot. Notice it doesn’t say lack of plot. Honestly, how interesting is something – a book, a movie, a play ,etc – if nothing ever happens? That’s not how he prefers to operate. For Mr. King, he prefers to take a situation and place his characters within it and then see how they deal with it and each other. He doesn’t have an outline that takes his story from A to B to C and so on. How stale! Everything flows from the characters and how they react to each other, often producing surprising results. This is the crux of an improvised scene – how do we as improvisers take a situation and filter it through our characters to provide results that are not only surprising to the audience, but to ourselves as well? For example, with Tantrum’s last performance, I don’t think anyone could have predicted that the notion of the monologist’s serenading her future husband’s voicemail with a silly song would turn into a scene about Eva Braun and Adolf Hitler’s early romantic trysts. No one on stage knew it was about to happen, but the scene was played with honestly and sincerity and the audience was so surprised that they had no other recourse but to laugh.
Beyond the writing tips and improv correlations is a book that offers an entertaining look into not only the ideologies of a writer, but childhood anecdotes and the harrowing time of a family man. The final chapter details the events surrounding his accident just over a decade ago and I found it to be quite moving. Check it out.