Self-Awareness & Self-Deception: Beyond the Unreliable Narrator (A Kite in the Wind: Fiction Writers on Their Craft, anthology, Trinity University Press, also in The Writer’s Chronicle)
We refer to reality as if it were tangible--a geographical location or an absolute and identifiable state--but writers often arrive at the reality of the world of their story, if ever, as a kind of byproduct of the characters' everyday self-delusions.
The term "unreliable narrator" suggests that unreliability is a special category and that most narrators (and people) are clear-sighted, rational, and honest. Even a fairly casual consideration of an ordinary day, however, let alone a crisis, suggests otherwise; there's substantial narrative interest in the chaos of the "normal" human mind. It's a little scary, even for people who consider themselves to be recklessly truthful, to count the number of lies (social lies, kind lies, self-serving lies, small semi-truths to avoid long explanations, and outright lies) we tell. Often, we don't allow ourselves to know when we're lying. It's even scarier to look back over the decisions we've made and to try to remember what made those choices seem so smart or so necessary. So one aim in our ongoing project of writing and reading is the passionate desire to get an accurate view of reality.
Mystery vs. Confusion (CRAFT)
In writing fiction, we’re always looking for ways to manage the release and restraint of information, introducing our characters and situations while avoiding the dreaded exposition junk pile at the beginning (many of us do have a great fondness for exposition junk piles when they’re intriguingly full of bright objects). When we’re writing the first draft of a story or novel, the process can feel like an unsettling dream: we’re attending a party in the dark. Is it a funeral? A wedding? The birthday party of an old friend or enemy? What are we doing and why? We fumble around trying to figure out who else is in the room as we trip over the furniture and bump into walls.
When we finally find the light switches, we feel such joy in discovering who the characters are and what they’re up to that we may be tempted to try to recreate for our readers this sense of being utterly lost, followed by the delight of figuring out what’s happening.
We may also fear that we’ll lose our readers’ fragile attention if we don’t create enough of a sense of mystery. Sometimes we fear this so much that we make every element of a beginning mysterious, so that readers have no idea who the characters are, what’s happening, what matters, or what they should be focusing on.
Politics and the Imagination: How to Get Away with Just about Anything (in Ten Not-So-Easy Lessons) (Dedicated to the People of Darfur: Writings on Fear, Risk, and Hope, anthology, Rutgers University Press, also in The Writer’s Chronicle)
The Pleasures of Hell (The Writer’s Chronicle)
Teeming with Villains & Villainesses, or, Taking Sides (The Writer’s Chronicle)
Dubravka Ugresic, The Ministry of Pain (The Believer)
Stacey D'Erasmo, Blood, Breath, Bone, String: A Seahorse Year (The Believer)