Chuck Q & A - August 2004
1. From vandamage:
I understand choruses, and find them very effective, but what do you think of a chorus used as a framing device, say like the first and last chapter of a longer story, written exactly the same way, word for word, but with one word changed, like change "We" to "I". Do you think so much repetitiveness will just grate an editor's nerves, regardless of how well the piece is written. And thanks Chuck. Your workshops have given me so much inspiration, especially since I really haven't written much in eight years.
Chuck Responds:
Guess what? You just nailed the opening and closing passages of Shirley Jackson’s famous novel The Haunting of Hill House. The difference in the closing version is that the protagonist, Eleanor, now includes herself among the ghosts of the house, and uses the plural “we.” So, sure, you can do this. But keep your repeated passage short. If it’s too long, the effect might be tedious. Plus, if it’s short, the passage will be more memorable and it’s more likely the reader will catch any minor tweaking between the first and last times you use the passage.
2. From Terminal Descent:
How does one spot choruses in their friends' speech patterns? Is it something you knew already or something you spotted while looking for examples of choruses?
Chuck Responds:
Good question… I was aware of choruses in songs, since I was born, and the way they buffer each verse. Then, I studied them as part of Minimalism: taught to Tom Spanbauer by Gordon Lish, and by Tom to me. Then, as an interviewer listening to tape recordings of myself and interview subjects, I was really confronted by the limited number of phrases I and my subjects would use in conversation, and what purposes those phrases served. If you’re a glutton for torture, tape record yourself talking with friends. Then, transcribe the tape(s). Or when you’re telephoning your family, listen for the way they change the conversation around to their topic. Play a little game of tug-of-war, and note down every device they use to reclaim the topic. Right there, you’ll have several decent, common choruses.
3. From RapheWolfgang:
The way I see it, Choruses are like a kind of aside for the character to pause the story and remind us of something or transition us to the next point. They seem to coincide, then, in a way with Big Voice. Is this assumption wrong and are there any instances one should be careful or NOT use choruses?
Chuck Responds:
Yes, true, exactly. Choruses are a form of Big Voice, used to structure and control the narrative. And if used well, they’ll give the present moment greater power by connecting it with the past – but if used badly, choruses will annoy your reader and slow the action. That said, when you’re building tension in a Little Voice scene, avoid choruses. Stay in the physical scene – the illusion of reality -- until almost the climax. Only then can you risk “teasing” your reader with a chorus. Too much tease, too early and too long, will just alienate your reader.
4. From Parkaboy:
I was a little less clear on the chorus as transitional device and was wondering if you could spend a few lines detailing it more here. Specifically, how would you implement a chorus for a radical change in scene? Say between two different characters’ perspectives? Or, between time periods, say, from a flashback to the present tense?
I’m looking for some sort of corollary by which I can cue the reader that the shift has happened but smooth it out on the page and in the narrative. My idea is to do something akin to the stylistic cinematography Soderberg uses in Traffic, where each character’s story has a distinct color, only use a verbal chorus instead as my cue. In this way the reader would know immediately that the transition had taken place and where they were and with whom in the narrative.
Chuck Responds:
The simplest transitional device is just a “space break.” Just an inch or so of white page. Or starting a new chapter. I don’t know if a chorus can “jump” your reader from one character’s viewpoint to another’s, effectively. Separate chapters might work better. The “classic” example is Valley of the Dolls, where each new chapter is a different one of the three female characters. A simple chorus might be one word: “What-EVER.” Or, “Any-WAY.” People use those in conversation, constantly, to change the subject. Still, one of the problems with shifting the viewpoint with a chorus is – who’s stating the chorus? If you do try this, you might consider a very distinctive chorus for each of the characters so the moment we see the chorus, we know who is breaking in and assuming the narrative viewpoint.
5. From karbunkle:
At what point do you use to judge a chorus being overused to the point of almost becoming cliche?
Chuck Responds:
When my editor says it’s too much. As many choruses as I use, the last re-write always includes removing a few. Then, a few more. If used well, the chorus should hit an important note that resonates with an earlier moment in the story. Or the chorus should disappear and create just a moment of pause -- a “jump” the reader is unlikely to sub-vocalize (hear in their head). I tend to overuse the choruses, only because they help me keep track of every important moment that came earlier in the story. All those emotional loose threads. To feel safe, let a trusted, intelligent reader tell you if the choruses are too invasive.
6. From D.F. Kratzer:
Your use of choruses was something I noticed when I started reading your novels, yet I didn't have a name to give it. What I would like to ask is how can the author effectively use this not only in the three ways you discussed, but also to build upon a theme? The example that comes to mind is Throwaway (the winning horse in James Joyce's Ulysses). What are some other ways this can be used as a thematic element?
Chuck Responds:
Hey, you brought up the subject of “theme”… Now YOU tell ME how to demonstrate it with choruses. Me-wise, I tend to develop theme with odd statements of real-world fact. For example: the coded security announcements in Choke, a book with the theme of “nothing is what it appears to be.” Or the cleaning hints in Survivor, a book where the narrator must move beyond just perpetuating the existing world (i.e. cleaning up) and begin generating the reality he’s responsible for (i.e. the unborn baby). From the hidden treasures within buildings (Diary, theme: immortality and connecting across time) to the invasive plants of Lullaby (theme: dueling forms of power), I use these bits of fact to demonstrate my themes. But I don’t consider them choruses. To me, these statements are too dissimilar from each other, they don’t echo each other. Instead, they work to establish “head authority” so the reader will believe the big-BIG lie that will come.
7. From aeonsgnl:
Are there any major don’ts when writing a poetry book? And once I've finished how do I get it published? I know this isn’t the topic but I don’t see much on poetry here....please help.
Chuck Responds:
Don’t expect to make money. Sorry, I know nothing about the market for publishing poetry. My first publisher, W.W.Norton, still does a great line of poetry books each season, but that’s all I can tell you.
8. From howdyzowdy:
My biggest problem in writing so far has been the re-write process. I've been complemented on my ability to critique other peoples work but I can't give any input into my own. When reading my own work I can understand it perfectly because I was the one who created it. For example, I will write of an abstract concept and in re-reading I understand what I was thinking when I wrote that, but other people say that it is unclear. Even when I reach a point where I see that something needs work I have no idea how to attack the problem. None of my changes seem to be a solution to the problem.
Chuck Responds:
Consider just sitting with friends and “telling” them your abstract concept. If you can say it and be understood, then you should be able to write it. And as your friends listen, take note of their contributions. For example, someone will say, “Oh, yeah, that’s like when…” Or, “That reminds me of…” Your listeners will provide you with additional ways to demonstrate your theme or concept. Ways you’d never imagined. This way, writing the concept, you can show it, using different metaphors or examples. If nothing else, telling your concept out loud will help you understand better what you’re trying to convey. Then, go back and re-write.
9. From kidrage27:
Of the books of yours I've read, the narration seems inspired and genuine. Almost as if it's happening as you write. The reason I mention this is because the most well-received story I've written I made up mostly on the spot (except for the major plot and setting) and the story that I organized and charted and planned, people hated.
I'm thinking this has something to do with the planning process. So, to the question: Should there be a planning process beforehand to organize your ideas or should the story unravel as you write?
Chuck Responds:
This will sound a Little Crazy. Sometimes good narration is like Method Acting. You need to build the “body of knowledge” your character has. After you’ve learned the stuff that shapes how your character sees the world, then you can write quickly and effectively – always knowing how your character would approach each situation and moment. Then, apply this narration to the skeleton of plot to get your character into interaction with other characters. Voila -- Your machine is running. As you run out of pre-planned plot, your story will take over and generate its own. Based on character. This is the fun part, better than anything you could’ve ever outlined or pre-planned. This is the part of the writing process that’s addictive and makes all the shit worthwhile
10. From GuiltyAboutLastMonth:
This is a marketing question. I am into the querying process on a novel--both agents and publishers--in batches of ten. Following the how-to book advice, I’ve found authors similar to my work, newer agents at houses, etc. and targeted them. You were kind enough to suggest one yourself. What I want to know is, is there anything I'm missing here, any stone left uncovered or is the name of the game?
And, how important are connections in getting published? I know in Hollywood it’s who you know rather than what you know, and was wondering if the same applied here.
Chuck Responds:
A lot of people pull strings and kiss ass to get their first book published. Then, they kick back and go teach writing. God bless them. You can fool a publisher into losing money only once. Or – at most, twice. After that, you’re nobody’s little virgin, waiting to be discovered and spotlighted by the world. Every day, I thank God I didn’t have the “connections” to get my first novel published. It would’ve been a money-losing disaster, giving me a moment of glory but leaving me deep in a pit of bad reputation. So, my best advice? You only get one “Debut Novel” so make it so incredible that the money people will be too frightened NOT to buy it. Even if an agent or editor doesn’t like the book, they can be scared that another house will acquire it and make a pile of money. Use that greed to your advantage. And as you market – start work on another. Write and correspond with the agents and editors who like your work, even if they don’t buy it. Build those relationships. A funny letter demonstrates your skill and keeps you fresh in people’s minds until you have another project ready to send. If you sell your book or not – you’ll still have to write another. Get used to it. If you don’t like writing that much, try… print making?
