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Summarization
Summarization (also referred to as summary, narration, or narrative summary) is the fiction-writing mode whereby story events are condensed. The reader is told what happens, rather that having it shown (Marshall 1998, pp. 144-146). In the fiction-writing axiom "Show, don't tell" the "tell" is often in the form of summarization.
Summarization has important uses:
- To connect one part of a story to another
- To report events whose details aren't important
- To telescope time
- To convey an emotional state over an extended period of time (Marshall 1998, p. 145)
- To vary the rhythm and texture of the writing (Browne and King 2004, p. 12)
The main advantage of summary is that it takes up less space (Selgin 2007, p. 31). According to author Orson Scott Card, either action or summarization could be right, either could be wrong. Factors such as rhythm, pace, and tone come into play. The objective is to get the right balance between telling versus showing, action versus summarization (Card 1988, pp. 140-142). The appropriate use of summarization is a matter of ongoing discussion among fiction writers and writing coaches.[2]
Introspection
Introspection (also referred to as internal dialogue, interior monologue, self-talk) is the fiction-writing mode used to convey a character's thoughts. As explained by Renni Browne and Dave King, "One of the great gifts of literature is that it allows for the expression of unexpressed thoughts . . ." (Browne and King 2004, p. 117). According to Nancy Kress, a character's thoughts can greatly enhance a story: deepening characterization, increasing tension, and widening the scope of a story (Kress 2003, p. 38). As outlined by Jack M. Bickham, thought plays a critical role in both scene and sequel (Bickham 1993, pp. 12-22, 50-58). Among authors and writing coaches, there appears to be little consensus regarding the importance of introspection [3] and how it is best presented. [4]
Sensation
Sensation is the fiction-writing mode for portraying a character's perception of the senses. According to Ron Rozelle, “. . .the success of your story or novel will depend on many things, but the most crucial is your ability to bring your reader into it. And that reader will be most completely in when you deliver the actual sensations of the many things that comprise your story” (Rozelle 2005, p. 76). As stated by Jessica Page Morrell, “You breathe life into fiction by translating the senses onto the page, producing stories rooted in the physical world . . . that creates a tapestry, a galaxy of interwoven sensory ingredients.” (Morrell 2006, p. 172)
Also according to Rozelle, “The sensation of what something feels like is used to describe everything from sensual pleasure to pain and torture. It’s a wide range, and your readers have actually experienced only some of those feelings. So your job is to either make them recall exactly what it feels like when something occurs in your story or, if they haven’t experienced it, what it would feel like if they did” (Rozelle 2005, p. 86). Morrell describes a “sensory surround,” which when “coupled with drama tugs the reader into [the] story and forces him to keep reading.” (Morrell 2006, p. 173)
The importance of conveying sensation in fiction is widely accepted. However, recognition of sensation as a distinct fiction-writing mode is a matter of discussion. [5]
Emotion
Emotion is the fiction-writing mode whereby a character’s feelings are portrayed. According to Mildred I. Reid, there is only one must in creative writing: the author must transfer an emotional experience to the reader (Reid, p. 105). Gloria Kempton provides an avenue for transferring that emotion when she observes that “The only way to connect with our reader on an emotional level is to first connect with our characters.” And, “The way we do this is to make sure our characters connect with themselves.” (Kempton, p. 148)
Orson Scott Card notes that “You can’t control everything the reader feels, and no two members of your audience will ever be emotionally involved in your story exactly to the same degree. Still, there are some things you can control, and if you use them deftly, without letting them get out of hand, you can lead most of your audience to intense emotional involvement with your characters.” (Card, p. 74)
The importance of portraying emotion in fiction is widely accepted. However, recognition of emotion as a distinct fiction-writing mode is a matter of discussion. [6]
References
- Bickham, Jack M. (1993). Scene & Structure. Writer's Digest Books. ISBN 0-89879-551-6.
- Browne & King (2004). Self-Editing for Fiction Writers: How to Edit Yourself into Print. New York: Harper Resource. ISBN 0-06-054569-0.
- Card, Orson Scott (1988). Character & Viewpoint. Cincinnati, OH: Writer's Digest Books. ISBN 0-89879-307-6.
- Kempton, Gloria (2004). Write Great Fiction: Dialogue. Cincinnati, OH: Writer’s Digest Books. ISBN 1582972893.
- Kress, Nancy (August 2003), Writer's Digest
- Marshall, Evan (1998). The Marshall Plan for Novel Writing. Cincinnati, OH: Writer's Digest Books. ISBN 1-58297-062-9.
- Morrell, Jessica Page (2006). Between the Lines: Master the Subtle Elements of Fiction Writing. Cincinnati, OH: Writer's Digest Books. ISBN 978-1-58297-393-7.
- Reid, Mildred I. (1994). The Writer’s Digest Guide to Good Writing. Cincinnati, OH: Writer’s Digest Books. ISBN 0898796407.
- Rozelle, Ron (2005). Write Great Fiction: Description & Setting. Cincinnati, OH: Writer's Digest Books. ISBN 1-58297-327-X.
- Selgin, Peter (2007). By Cunning & Craft: Sound Advice and Practical Wisdom for fiction writers. Cincinnati, OH: Writer's Digest Books. ISBN 978-1-58297-491-0.
See also
- Writing
- Rhetorical modes
- Style (fiction)
- Fiction
- Exposition (literary technique)
- Show, don't tell
- Narrative
External links
- Fiction-Writing Modes: [7]
