Fiction is just one major representation of a greater conversation between history, culture, modernity, and the future, which all writing becomes a part. However, for a writer to translate his/her ideas, morals, and personal representations of the psyche, the story must be told in such a way that suspends the audience’s sense of disbelief, meaning that the narrative feels so genuine—so real—the audience will forget they are reading a story and give themselves over to the world in which the writer creates. In Best Words, Best Order, Stephen Dobyns writes, “The perceived world is a metaphor for the self, that what you tell about, what you see, reveals more about you than the object you are ostensibly describing” (72).
In this lesson module, we will explore authentic voice, point of view, tense and syntax through the process of rewriting and revision. As you complete the following lessons, work at your own pace. Take your time. Some of the lessons will ask you to create new drafts and some lessons will ask you to work with drafts you’ve already written.
One on One, Individualized Feedback
At the end of each lesson, you will have the opportunity to submit your work for individualized, one on one feedback if you wish to do so. This feedback will include both developmental and line edits as well as end notes. Your One on One feedback will also include email conferencing with your editor.
When writing sex, excavate the sexual arc, identity and preferences of your character the same way you would excavate any other character details and attributes. Mary Gaitskill’s short story, “Secretary,” is a good example.
When writing sex, excavate your character’s sexuality by asking questions (and actually drafting out answers to questions) such as:
At what age and in what circumstance did the character first recognize sexual identity?
What has happened in the character’s sexual development that makes sexuality a necessary character focus? (This is an essential question for any narrative that will include an overt sexual presence. The more sexually present a character is, the more digging you must do in the character’s sexual development. And if you can’t come up with something unique and essential, then the sexuality of that character would be common and less important. In this case, it should not be a main plot focus within the work. In this case, and say this with me, the sexuality might very well end up being gratuitous. In this case, cut it back, tread subtly. For those writers who believe that they are writing the first ever sexually confident female, please for the sake of all that is worthy, read more. You are not the first.)
What is the most vulnerable and embarrassing sexual moment the character can remember?
How does the character view self as sexual being? (This might seem an easy answer, but dig deeper. It’s rather complex.)
If this character were a different gender identity than the current, what would this be and how would it feel?
What parts of the character’s body, other than the genitalia and breasts, are sensitive and intimate to her/him/hir?
There are so many individualized questions you might ask your character. Until you come up with your unique questions and answers for your character, you have not made the character’s sexuality essential within the narrative.
Rae Bryant is the author of the short story collection, The Indefinite State of Imaginary Morals. Her fiction, prose-poetry and essays have appeared in print and online at The Paris Review, The Missouri Review, Diagram, StoryQuarterly, McSweeney’s, New World Writing, Gargoyle Magazine, and Redivider, among other publications and have been nominated for the Pen/Hemingway, Pen Emerging Writers, &NOW Award and Pushcart Prize. She has won awards in fiction from Whidbey Writers and The Johns Hopkins University. She earned a Masters in Writing from Hopkins where she continues to teach creative writing and is editor in chief of The Doctor T. J. Eckleburg Review. She has also taught in the International Writing Program at The University of Iowa. She is represented by Jennifer Carlson of Dunow, Carlson and Lerner.
One on One Creative Writing Workshop
If you would like to share your narrative, post it to the discussion board below and share it with your course peers. If you end up expanding this narrative into a fuller work and would like written, individualized feedback on it, we invite you to join us for a One on One Creative Writing Workshop.
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Rae Bryant is the author of the short story collection, The Indefinite State of Imaginary Morals. Her fiction, prose-poetry and essays have appeared in print and online at The Paris Review, The Missouri Review, Diagram, StoryQuarterly, McSweeney’s, New World Writing, Gargoyle Magazine, and Redivider, among other publications and have been nominated for the Pen/Hemingway, Pen Emerging Writers, &NOW Award and Pushcart Prize. She has won awards in fiction from Whidbey Writers and The Johns Hopkins University. She earned a Masters in Writing from Hopkins where she continues to teach creative writing and is editor in chief of The Doctor T. J. Eckleburg Review. She has also taught in the International Writing Program at The University of Iowa. She is represented by Jennifer Carlson of Dunow, Carlson and Lerner.