Lesson 1. Introduction & Philosophical Foundations │The Mechanics of Fiction Writing

Introduction

The speaker introduces themselves as a novelist and shares their journey in writing Greek myths. They explain the fragmented nature of Greek myths and their desire to connect all the stories into something complete.

Writing Greek Myths

• The speaker started writing inspired by a Greek myth and wanted to tell the whole story by connecting fragmented pieces.

• They conducted research, piecing together similar fragments, grouping family histories, and drawing timelines.

• After completing the story, they realized they hadn't written a single word on paper yet.

Journey as a Writer

• Over 15 years later, the speaker has completed seven novels, numerous short stories and essays.

• They have earned master's degrees in fiction writing and narrative theory.

• The speaker has built their own outlet as a self-published author and freelance editor.

• They have taught fiction writing at the college level, worked on a literary magazine staff, and presented theoretical scholarship at conferences.

Goal of Sharing Knowledge

• The speaker aims to share their knowledge and lessons learned to save others time and trouble in becoming good fiction writers.

• They believe that learning from mistakes is an essential part of the process but aim to help others avoid common pitfalls.

• Their goal is to make the next generation of fiction writers better than before.

Mechanics of Fiction Writing

The speaker introduces "The Mechanics of Fiction Writing" as a different approach to teaching fiction writing. They explain that while other approaches have valuable fragments, they aim to provide a system for understanding the big picture.

Unique Approach

• The speaker acknowledges having read hundreds of books on writing fiction from various authors but believes most approaches only offer fragments.

• "The Mechanics of Fiction Writing" provides a comprehensive system for understanding storytelling from novice to successful published authors.

Beginning with a Story

• The speaker shares a personal story of moving across the country to study fiction writing in an MFA program.

• They had no prior experience with formal writing classes and were self-taught through reading books on grammar and listening to lectures.

• Studying with experts was a significant opportunity for them.

Conclusion

The speaker concludes by expressing their excitement to share their knowledge and help others become better fiction writers.

Sharing Knowledge

• The speaker aims to save others time and trouble by sharing their experiences and lessons learned.

• They emphasize that their approach is not meant to criticize other methods but rather provide a complete system for understanding fiction writing.

This summary covers the main points of the transcript, focusing on the introduction, the goal of sharing knowledge, the unique approach of "The Mechanics of Fiction Writing," and the conclusion.

Introduction to Painting Class

The speaker discusses the expectations of a painting class and contrasts it with their experience in a writing workshop.

Expectations of a Painting Class

• A good painting instructor would offer a comprehensive introduction to the tools of the trade.

• Introduction to different surfaces commonly used for painting.

• Explanation of the advantages and disadvantages of each surface.

• Demonstration on how to hold and use a palette for color mixing.

• Introduction to different brushes and their specific uses.

Writing Workshops vs Painting Classes

The speaker compares their expectations from an MFA program with the reality of writing workshops.

Writing Workshops

• Involves writers at similar skill levels critiquing each other's work.

• Feedback is based on individual readings, understanding of fiction writing, and vague impressions.

• Led by an experienced writer who guides discussions based on their perception of fruitful directions.

• Comparisons made to blindfolded people throwing darts at a moving dartboard, resulting in scattered feedback.

• Limited discussion on technique, often using vague metaphors that require interpretation.

Differences Between Writing and Painting Classes

The speaker explains why writing classes are not taught like painting classes.

Tangibility of Tools

• Painting tools are tangible, making it easier to demonstrate their usage and techniques.

• Writing tools such as grammar and syntax are abstract concepts that require thinking and application.

Complexity of Writing

• Writing fiction is cognitively more complex than painting.

• Demonstrated through alternative sentence structures in Herman Melville's "Moby Dick."

• Rearranging words within the same sentence can change its meaning while retaining basic propositions.

Reasons for Teaching Methods in Writing Classes

The speaker provides reasons behind teaching methods in writing classes.

Abstract Nature of Writing Tools

• Writing tools like grammar and syntax require conscious application, making improvement less self-evident.

• Improvement is more noticeable when starting from a low skill level.

Complexity of Writing

• Writing fiction involves intricate cognitive processes.

• Demonstrated through the complexity of sentence structure in "Moby Dick."

Conclusion

The speaker concludes by highlighting the differences between painting and writing classes.

• Painting classes focus on tangible tools and techniques, while writing classes deal with abstract concepts.

• Writing is a cognitively complex endeavor that requires understanding and application of various elements.

• The teaching methods in writing classes aim to develop individual creativity and expression.

The Art of Fiction Writing

In this section, the speaker discusses the process of fiction writing and the choices writers make in crafting their stories.

Changing Paradigm and Syntax

• The speaker reflects on a time when they made changes to a sentence in a novel, highlighting how even small alterations can impact the overall story.

• They emphasize that these changes are cognitive choices made by the writer, similar to how Melville crafted "Moby Dick" with infinite possibilities.

• Teaching and learning fiction writing are considered vague arts due to the multitude of choices writers have.

Dimensions of Fiction Writing

• The speaker introduces six major dimensions that writers need to understand: word choice, word order, narrator's orientation to the story, events in the story, syntax paradigm, and number of words used.

• These dimensions deal with abstract concepts and contribute to the complexity of teaching fiction writing.

• Despite this complexity, breaking down each dimension into simple terms helps develop a better understanding of how fiction works.

Approaching Fiction Writing

• The speaker shares their experience with a professor named Kim who approaches writing with spontaneity and intuition.

• Kim starts with a single idea and allows the story to unfold naturally without extensive planning or outlining.

• This process involves deep commitment to revision and rewriting as no masterpiece is created on the first attempt.

David's Approach

• David is another writer mentioned who wrote "Infinite Jest" and is highly regarded by literary critics.

• His approach involves spontaneity and intuition at the beginning but also requires significant revision on the back end.

• A passage from one of his stories showcases his unique style.

Understanding Dimensions in Fiction Writing

In this section, the speaker delves deeper into each dimension of fiction writing and emphasizes their importance in creating compelling stories.

Word Choice and Word Order

• Word choice and word order play a crucial role in shaping the meaning and impact of sentences.

• The speaker provides examples of how altering words or sentence structure can change the narrative perspective or introduce new elements.

Narrator's Orientation to the Story

• The narrator's orientation to the story influences how readers perceive events and characters.

• By changing the narrator, writers can explore different perspectives and add complexity to their storytelling.

Events in the Story

• The events that occur within a story contribute to its overall plot and development.

• Writers have infinite possibilities when it comes to crafting events, allowing for unique narratives and character arcs.

Complexity of Teaching Fiction Writing

• Teaching fiction writing is challenging due to the infinite choices available in each dimension.

• However, breaking down these dimensions into simpler terms helps students grasp the fundamentals of storytelling.

Learning Fiction Writing Techniques

In this section, the speaker discusses their unique approach to teaching fiction writing techniques and promises to provide valuable insights for aspiring writers.

Articulating Components of Fiction

• The speaker aims to articulate each component of fiction writing, similar to how a painting instructor explains tools and techniques.

• By understanding these components, writers can learn from great authors' successful use of these tools in their own stories.

Poaching Moves from Great Writers

• Writers can learn from established authors by studying their techniques and incorporating them into their own work.

• This process involves recognizing when certain tools are appropriate for specific situations within a story.

Groundwork before Delving into Techniques

• The speaker acknowledges that there is still more groundwork to cover before diving into specific techniques.

• They assure listeners that by taking things one step at a time and using simple language, they will gain a better understanding of fiction writing.

Embracing Spontaneity in Fiction Writing

In this section, the speaker discusses the writing process of a renowned writer named Kim and emphasizes the importance of spontaneity in literary fiction.

Kim's Writing Process

• Kim, an acclaimed writer, approaches writing with spontaneity and intuition.

• She starts with a single idea and allows the story to unfold naturally without extensive planning or outlining.

• This process involves embracing uncertainty and waiting to discover what happens in the end.

Common Process for Literary Fiction Writers

• The speaker suggests that many literary fiction writers follow a similar process of spontaneity and intuition.

• This approach requires revising and rewriting extensively to refine the initial draft into a masterpiece.

David's Approach to Writing

In this section, the speaker discusses another accomplished writer named David and his unique approach to writing.

David's Notable Work

• David is recognized as one of the best writers of the last hundred years, with his work "Infinite Jest" being highly regarded.

• Critics believe that his work will continue to be read for years to come.

A Passage from David's Story

• The speaker shares a passage from one of David's stories published in Esquire magazine.

• The passage showcases David's distinctive style and storytelling prowess.

Timestamps are approximate.

New Section

This section discusses the contrast between two approaches to fiction writing: the freewheeling, intuitive approach and the hyper-prepared, over-outlined approach. It also explores why there aren't many lessons on the mechanics of fiction writing available.

Planning vs Intuition

• The passage illustrates a contrast between two approaches to fiction writing: the freewheeling, intuitive approach (Kim) and the hyper-prepared, over-outlined approach (David).

• Most writers tend to be more like Kim, as creativity is closely tied to openness and a lack of systematization.

• However, there is value in learning the mechanics of fiction writing for both Kim's and David's.

• Understanding the big decisions in writing can help avoid making bad choices that lead to extensive revisions.

• These lessons provide tools and vocabulary for making informed choices in fiction writing.

New Section

This section emphasizes that most of what writers do when they write is unconscious. It highlights the importance of learning the mechanics of fiction writing to make informed decisions.

Unconscious Choices in Writing

• Writers make countless unconscious decisions while writing.

• Even meticulous planners only touch a fraction of their conscious choices.

• Learning the mechanics of fiction offers an understanding of major decisions and helps differentiate good from bad choices.

• These lessons provide practical guidance on using different tools effectively in creating desired effects in fiction.

• They also enhance vocabulary for discussing one's own work and analyzing other writers' fiction.

New Section

This section argues that learning the mechanics of fiction can help writers avoid making wrong decisions on major aspects of their stories. It emphasizes how these lessons offer practical guidance for making informed choices.

Making Informed Decisions

• Making a hundred million conscious decisions in a year is impossible for writers.

• Learning the mechanics of fiction helps identify and make good decisions on major aspects of a story.

• Making wrong decisions can lead to years of revision without knowing if the story is heading in the right direction.

• These lessons provide clarity on tools and their application, helping beginners learn how to make choices and understand why certain choices are suitable for specific stories.

• They also enhance vocabulary for discussing one's own work and analyzing other writers' fiction.

New Section

This section highlights how learning the mechanics of fiction writing improves one's ability to discuss their own work and analyze other writers' fiction.

Enhancing Vocabulary and Analysis

• The trial-and-error approach lacks the vocabulary needed for effective discussions in workshops or when analyzing fiction.

• These lessons provide a sharper vocabulary for discussing one's own work and analyzing other writers' fiction.

• Having a strong vocabulary enhances conversations about writing techniques, styles, and themes.

• It allows for more meaningful feedback exchanges in workshops or writing communities.

New Section

In this section, the speaker discusses the complexity of articulating the truth in writing and emphasizes the importance of having a useful name for all the tools in a writer's toolbox.

The Complexity of Articulating Truth

• The speaker questions whether writers truly believe they are conveying the truth, as expressing complex ideas accurately is challenging.

• Having a comprehensive understanding of various writing techniques can help writers comprehend their own work and that of others.

• A writer's toolbox consists of different tools that aid in understanding and effectively communicating ideas.

New Section

This section focuses on providing guidance to writers by comparing writing to painting and introducing various tools that can be used.

Tools for Writers

• The speaker compares learning to write with taking a painting class, where tools are provided to help students understand how to use them effectively.

• By learning from other writers and analyzing their techniques, writers can improve their own skills.

• The speaker aims to provide practical guidance rather than using cryptic metaphors.

New Section

In this section, the speaker explains where they have gathered useful information from and acknowledges that most lessons are adapted from existing knowledge rather than being original creations.

Sources of Useful Information

• The speaker describes themselves as a compiler who has gathered lessons from various sources.

• They have explored narrative craft, narrative theory, cognitive and evolutionary psychology, linguistics, and semiotics.

• While acknowledging that not everyone may be familiar with these fields, the speaker assures they will provide brief overviews.

New Section

This section introduces narrative craft as an area of study and highlights its relevance in understanding fiction writing.

Narrative Craft

• Craft guides or how-to books on fiction writing are available, but their quality varies.

• These guides often use broad metaphors and quote established writers, which can be both helpful and misleading.

• Writers' decisions are often subconscious, making it challenging to fully understand the craft.

New Section

This section discusses narrative theory as an academic field of study that explores the different aspects of storytelling.

Narrative Theory

• Narrative theory involves an empirical approach to studying stories and their components.

• It delves into various distinctions within narratives, such as character narrators versus disembodied narrators.

• However, narrative theorists can sometimes be overly intellectual and use complex terminology.

New Section

This section highlights the importance of considering cognitive and evolutionary psychology in understanding storytelling.

Cognitive and Evolutionary Psychology

• The connection between storytelling and cognition has led to the emergence of cognitive narratology.

• Scholars from various fields, including linguistics, psychology, neurology, and narratology, explore this connection.

• Understanding how stories happen in the brain can enhance a writer's skills without requiring extensive knowledge of neuroanatomy.

New Section

This section introduces linguistics and semiotics as fields that study language's symbolic representation of real-world objects and ideas.

Linguistics and Semiotics

• Linguistics and semiotics examine how language represents concepts across different languages.

• Words are considered a writer's ultimate tools for conveying ideas effectively.

• While not delving deeply into these fields, it is important to recognize their influence on writing.

New Section

In this section, the speaker acknowledges the complexity of each dimension in a writer's toolbox while preparing learners for further exploration.

Complexity of Dimensions

• The six major compartments in a writer's toolbox are plot, narrator, characters, story world, text, and subtext.

• Each dimension is intricate and will be covered in detail throughout the lessons.

• Understanding how each dimension shapes a story requires thorough exploration.

New Section

This section concludes the introduction by summarizing the complexity of each dimension and expressing the goal of providing a comprehensive understanding.

Comprehensive Understanding

• The speaker acknowledges that each dimension is complex and requires in-depth study.

• By the end of the lessons, learners will have a thorough understanding of how each dimension influences storytelling.

• The speaker emphasizes their efforts to provide valuable insights and guidance to improve writing skills.

New Section Understanding the Dimensions of Written Fiction

In this section, the speaker discusses the importance of considering all dimensions of written fiction and how they work together to create a compelling story.

The Six Dimensions of Written Fiction

• All dimensions of written fiction are critical.

• Literary fiction is not solely about characters; it is important to consider each of the six categories.

• The six dimensions are interdependent and must be attended to for a living work of fiction.

• Before discussing plot, there is one final pressing piece of business.

Conclusion

The speaker emphasizes that all dimensions - characters, plot, setting, point of view, style, and theme - are essential in creating a successful work of fiction. Each dimension plays a crucial role in bringing a story to life.