Do different voices creep into your WIP over time?In other words, if you're feeling buoyant, do you suddenly interject humor into a dark plot? Or vice versa?
I'm still having trouble with this in trying to move to novel writing. I could stay true throughout a short story, keep a consistent voice. And the first attempt at a novel was relentlessly grim. No trouble there since its suits my general mood.
But with the second stab at a novel, every few days brings a new me to the WP. How do we maintain a consistent voice when we are not consistent in our moods? Do the ups and downs of a political campaign, a marriage, the weather, health issues affect us?
Or does it even out over time and give you a richer novel? Does your mood have little to do with your writing? Do I need to learn how to leave my mood at the door of my office?
17 comments:
I've only attempted two novels so far, but I think a novel can grab the writer's attention in the same way a short story can--to the point that, while writing, nothing matters as much as finding out what happens to your characters in your fictive world next.
At earlier, exploratory stages, it's fine to experiment with different voices--as long as everything holds together in the end.
Keeping a light and funny tone was the hardest part of writing Plundered Booty for me. Especially on the crappy days at work when I went home and had to fight the urge to kill of a character jsut to make me feel better.
An absurdist tone is what's leaking in-and I so wanted to keep it noirish. It ain't gonna be. It's about two women who commit crimes--not about the crime itself. Luckily the two POVs gives me a little flixibility. One problem I had with the first and not this one is that its more lively.
After a whole bunch of failed attempts, I now think of a novel as a bunch of short stories laid end to end. A novel as a single entity is just too daunting.
As you know, Patti, I like a lot of different voices in a novel, but even one voice has different moods.
And yet I don't think my sense of humor is broad-based enough to really write a comic novel, Travis. When I submit captions to the New Yorker, I never make the finalists. Come to think of it, I never understand their captions.
Patti, it sounds like your muse is fighting you on the noirish tone of the book. Sometimes the muse knows best and sometimes we can beat her into submission. Maybe an ironic tone is what the story really needs. I try not to fight my muse, because she usually wins. ;)
Linda
Good thought, Linda. I think that's what's going on. I thought about the tone before I thought about the characters and it doesn't work.
I'm sure mood directly influences my work. I do try to overcome that (as Travis pointed out) when I'm in a bad mood and writing humor.
:-)
I guess the answer is to try and enter some sort of zen state each day. But maybe that would make the writing wooden. Or marbled. Or jaded.
See nobody gets that. That's why I need to stay away from humor.
I think mood is important. Your characters should change their moods just like you do yours, otherwise they will not be rounded out. It will make them more human, rather than cut-out paper dolls.
For me, it's all about how well I know my character(s). If I'm really thinking like her/him, then my mood doesn't really matter.
Lots of great advice.
I just think that humor, especially aburdist humor, makes sense in noir. I mean, I realize that not all noir stories strike that kind of tone, but I've noticed that sometimes noir movies and book that I've watched/read are funny even when they don't seem to mean to be, or at least they're funny to me. But perhaps that says more about me then the movies and books that I'm watching and reading.
My point is I wouldn't try to squash a humorist instinct. In fact, I'd go nuts with it. Get as absurd as possible, at least for a sample and then let some trusted readers look it over. See what they're reaction is. See what works and what doesn't. And go from there. Doing humor, I think, can be scary, but when it works it's great.
In particular, I can't help thinking of a couple of movies I've recently watched. Both, interstingly enough, John Cusack films.
First, Grosse Pointe Blank, which I think is an exceptional contemporary noir, as well funny and at times absurd.
And just last night I watched The Ice Harvest, a dark, noirish, and oddly funny movie at times, I thought. I loved it. Also, a great twisted Christmas movies for those who get sick of the sap of such fair as It's A Wonderful Life, which I admit to loving and now that I think about it does have something of a dark side.
Anyway. That's my two bits.
You know, ultimately you have to write what you write. I've been agonizing over this bigger, darker work in progress and just couldn't get moving (I've got 100 pages) - but I seem to have scenes for the much lighter "pet noir" project. I don't knwo if part of my subconscious is making fun of my ambitions or what. But it's there, so I'm going to write it out! Let yourself write, I say. As for consistency, re-read your previous day's work before you start and it'll come, it'll come.
As soon as I read your first paragraph, Chris, I thought of Cusak films. He has exactly the right tone to pull it off. Or also Robert Downey Jr in Kiss Kiss Bang Bang. Good point. Thanks.
Kiss Kiss, Bang Bang. That was the other movies I was thinking of but for some reason could not call up the title. You're right on about Downey. I wonder, have Downey and Cusack every done a film together? If not, perhaps they should. Downey and Kilmer were gangbuster together in Kiss Kiss, Bang Bang.
Yes! But y'know, as far as adding in a bit of humor to a dark novel, I think that's perfectly ok - it gives the reader a "break", so to speak.
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