Point Counterpoint offers differing opinions of literary concern. This topic discusses the reasons an author writes.
Point CounterpointFor Whom I Write
NEW Counter-Point
by: Liesha J. Crawford
Who is my audience? What is going to hook the reader of my book into reading the rest of the story and subsequent books, thus possibly recommending my book to others? What plot, characters, props and techniques can I use to appeal to each and every reader of my books and/or series of books? What ONE thing is going to appeal to readers? These are questions that authors may consider as they write, tweak and submit their works to an editor.
I would think that one would want to appeal to multiple ages, genders, personalities etc.. as they consider what to add and/or subtract to their published works. Some readers demand that each character be well developed and described (thus creating a mental image) from the beginning of the book. Others, demand that characters be developed over time changing as they mature into the role the author sees them becoming. Some readers require that plot also be developed relatively quickly within the story line, others do not. Placing small seemingly inconsequential objects within the setting may attract readers who look for the sublime, never expecting a “tie-in.” It may allow the reader to better visualize the scene. Visualization helps readers engage more in the text. This makes the book memorable and personal. When one creates pictures in their minds, the reader becomes more involved with the story. These small seemingly inconsequential details can stimulate the imagination and allow the reader more involvement within the story-line.
In educational settings, visualization is taught to emerging readers as a technique to make the student feel more engaged with the book they are reading and want to continue to read the story. It can make reading a more personal experience for students. In the case with struggling readers, visualization (even with subtle objects, clues and cues) allows them to construct meaning within text, as they might never have before. They may not expect it to be tied together at some point in the reading, however, constructing meaning is paramount for these types of readers.
In closing, the question I see is, “do small, seemingly inconsequential ideas, objects and details need to be developed further within the story line or not?” As I see it, it depends upon the reader the author is trying to reach and the purpose for which they are writing. I see good authors, doing both.
Point
by: S.L. Kotar
“Who do you Write for?
Many years ago, I wrote this quote for myself:
Writing for profit is soulless:
Writing for the soul is profitless.
Decades later, I stand by that youthful sentiment.
In attempting to answer the title question, perhaps a better interrogative should be, “Why do you write?” In answering this for myself, I offer you a personal statement that defines me not only as a human being but as an immortal one:
I write, therefore I am.
I write, I create, I envision. I hear voices. These are my characters. I use the word “characters” so I make myself clear, but to me, they are not fictional beings but living, breathing essences. They are part me, but more truthfully, they are themselves. They talk to me, whisper in my ear, and I do the best I can to tell their stories the way they want them told. The telling doesn’t always go the way I anticipate, but then I remind myself: it’s not my life I’m revealing, but theirs. These “characters” are my friends, occasionally my enemies and always my shadows, ever present albeit invisible.
If I create their world so readers find themselves feeling as though they ought to celebrate Christmas although in “real time” it’s actually July, then I’ve succeeded. If I make them feel as though they’re a marshal or a lawyer or a ReproBate and they believe someone is waiting to quick-draw them on Front street, or object to a legal point they’ve just made or made they curse the gods for sending a Union fleet after them, I’ve succeeded.
That’s why I write. Because I have to tell the stories; capture the scent of the sea, the wind whistling through tall prairie grass, instill the memory of an ethics class never taken at Harvard. I want the reader to suspend disbelief and make them live in another era, another reality. If I achieve that, then my shadows and I have found the gift of life.
Like everyone who ever put pencil or pen, or a typed keystroke to paper, there comes a time when you need, you crave to share your life with someone else; a lot, an infinite number of someone elses. That’s when the question begins to haunt you. Who am I writing for? If I want to share my work I have to make it acceptable; I have to heed the advice, “You can’t write a 19th Century novel for a 21st Century audience.” You have to reach the buying public; you have to give them what they want if you ever plan on selling anything.
So: do you change the character’s personality? Cut down on description? Abandon long paragraphs of twisted and conflicted inner emotion for the “cut to the chase” modern-day audience? You can, if you can do so and live with yourself and your characters. Have a heart-to-heart with them. You might even chose a middle road: write it first the way you want it and then alter the text to make it saleable. At least, you can try. But that begs the interrogative: Can you face yourself in the mirror? Are you proud of what you accomplished? Is laughing all the way to the bank worth your soul? Does sitting behind a table and inscribing your autograph on the title page worth what you lost? If the answer is, “Yes, I’d like to try being famous for a change,” then go for it with my blessing.
For myself, I have always chosen the path less traveled. I can’t change a scene or a background or a paragraph of dialogue because that’s the way I see it: that’s the way it happened. When I pick up my own work and re-read it, if I find myself transported back in time or catapulted into the future, I’ve won. If I can laugh at my people’s jokes, cry at their heartbreaks, revel in their triumphs, wither in their defeats, I have been true to my calling.
It’s a rare thing when soul and profit meet. It does happen. I hope it happens for you. I even hope it happens for me. But if it doesn’t, I remember the whispers and the scents and the emotions and I am satisfied.
I write, therefore I am.
For Whom I Write
Counter Point
by: Betsy J. Bennett
Today’s Point Counterpoint is ‘Should you write for yourself or for your reader?’ This is not a question which leads to a simplistic answer. The quick answer is as always -it depends.
If you are working for hire to create a specific piece of writing as a ghost writer or a contract writer then you must write for your boss, who should understand readership expectations. But that’s not what we’re talking about here.
Should a person staring at a blank computer screen who wants to “Be A Writer” (note capitalizations), write for himself or his audience?
As much as possible, he should write for his audience. If he wants to be a genre writer, (science fiction, romance, thriller, mystery, spy, fantasy, and so on) then there are specific forms that must be included.
In romantic fiction the love affair must be the central element of the story. Other things can and should be included, but the relationship between the two protagonists must be central. Another rule for romance writing is it must have a happy ending. You can’t “Romeo and Juliette” it and expect to sell it as a romance. It can’t be done. Romance genre books end happily. They don’t have to end with marriage, or even with sexual relations, but there should be the expectation of “Happily Ever After.” You’ll never sell a romance novel without that. There should be some conflict between the hero and heroine; that’s what makes the reader turn pages. Go through all romance movies and novels you can to determine the conflict and how it is resolved.
In Science Fiction, the science must be a key element. There must be robots or rocket ships or aliens or something beyond what is known now. Your protagonist must meet challenges beyond what would be considered normal on Earth. He could fall into a wormhole, be kidnapped by extraterrestrials, or fall in love with a completely inappropriate, fresh-off-the-assembly-line android. That’s not to say the situations your hero finds him or herself in are ‘impossible’. Exactly the opposite. The story must be believable within the world you have built. If in your world everyone is telepathic, your reader should be susceptible to the “willing surrender of disbelief” and accept your premise. No matter what genre you write, it’s your job to create your world so completely fleshed that it becomes normal for your characters and your audience.
All specific genres have their rules. You can learn these rules the easy way – read voraciously everything you can find in your genre. Find out what all these books have in common. Find out what works. If rules are being broken, discover if it is being done for a specific purpose. Before you’re a writer you should be a reader, and have an understanding of books – specifically plot, characterization, setting, conflict and a half-dozen other points of novel structure.
A reader expects these things. If your reader picks up your book and his expectations (whatever they are) are not met, he will certainly never pick up your second book. You don’t want to alienate your readership if your eventual goal is to sell books.