Why Write Fiction When the World Is Going to Hell?

In the past couple years, my son has been keenly interested in learning about natural phenomena, and particularly natural disasters. It’s a universal human impulse to want to know how things work, why things happen, what conditions must be present to form a cave or create a diamond or spawn a tornado. This desire to learn means we watch a lot of documentaries — old National Geographic VHS tapes from my own childhood, DVDs given as gifts or bought from the video rental place going out of business, online streaming programs found on Netflix and YouTube.

You won’t find me complaining about this. Documentaries are generally my genre of choice when scrolling through Netflix. Before streaming, I used to say to anyone who would listen that if they let me customize cable service so I got the History Channel, the Discovery Channel, and Animal Planet and nothing else, I’d be pleased as punch. But I have noticed that my experience watching disaster documentaries as an adult is far different from it was when I was a child.

As a child, I watched clip after clip of the aftermath of earthquakes, tornadoes, hurricanes, and floods with a sense of detachment. I didn’t know any of these people. I’d never been to these places. I didn’t know anyone who had been to any of these places. The often grainy and sometimes black and white footage put distance between the disaster and me, in my real life, placidly going to school and eating dinner and squabbling with my sister. Nothing bad ever happened to me, and so I didn’t consider that it could.

But as an adult, with a husband and a child and a home with my name on the deed, I watch these documentaries with a lump firmly lodged in my throat, my hand hovering around my mouth. I say out loud, “Oh, my,” and “Oh, those poor people.” Because I imagine what it would be like if it happened to my family. I imagine the unfathomable grief at losing a loved one, the terror of an unstoppable force bearing down on us, the brokenhearted relief of surviving in body yet losing the entire contents of my home.

I feel much the same way when I read memoirs or diaries written by survivors of war, or when I see pictures of despondent refugees trying to get their children out of harm’s way, or when I read articles about the few doctors left in Syrian cities under siege, desperate for supplies and forced to prioritize patients who have the best chance of living while they must let others die.

I look at dates and try to recall what I might have been doing at that time when people were suffering. When this city was burning, was I up in my apple tree, wrapped in its pure white perfumed blossoms? When that city was underwater, was I filling the tub with more hot water because I didn’t want to get out yet? When this woman’s husband was executed, was mine bringing the steaks in off the grill? When that woman’s child died in an explosion, was I kissing mine goodnight?

We are not guaranteed happiness. We are not even guaranteed the time to pursue it. Sometimes my own blessings weigh on me because I know it is nothing I have done that makes me deserving of an easy life, just as there is nothing the victim of a natural disaster or a war has done to deserve a difficult one.

The world is broken and the consequences touch every corner of humanity. I wish this shared plight caused us to look to each other more often as brothers and sisters, fellow sufferers, fellow sinners in need of forgiveness and restoration. Instead it too often causes us to look upon each other as rivals in a zero sum game for power, prestige, and possessions, as though for some to win, others must lose.

Every good and perfect gift is from above. A blessing is a gift. It is not earned. It is not a gold medal awarded to you because of your years of dedicated practice. It’s not something you are competing with other people in order to obtain. It is a gift from a Giver with an infinite store. It is a manifestation of grace. And it’s something we can pass on to fellow bearers of the image of God (i.e., everyone on the planet).

What can I give the one who is suffering? My time, my listening ear, my prayers. A blanket, a stuffed animal, a note of encouragement. My love, my understanding, my care. A ride, a hug, a job. I can volunteer for the relief effort. I can help a newly settled refugee family understand their mail. I can teach English, invite the new neighbors to church, make a hot meal for the guy under the bridge.

I can raise a child who has great compassion, who thinks of others far more than I ever did at his age.

I often go through periods of wondering if writing fiction is a waste of time in a world that needs so many more practical things. Why contribute a novel when what is needed is potable water, enough healthy food, more medical supplies, and safer buildings? What is the point of fiction when reality is so pressing?

Invariably I am reminded that stories have power. Because it’s not just our physical needs that need to be met in this life. We need to know that we are not alone. We need to be reminded that restoration and redemption are possible. We need to remember what hope feels like. We need to believe that there is another future for us beyond our current situation. We need to dream. We need to encounter the divine.

Fiction can be an escape, but it’s more than that. It’s about processing reality. When we dream our mind is working to process bits and pieces of our waking life, to categorize and make sense of all that we experience. In the same way, fiction processes the experiences of all of humanity. It collects and observes, it arranges and interprets, it posits and enacts. Fiction is the REM sleep cycle of real life.

So, writer, whenever you or others are tempted to dismiss your creative work as a pointless extravagance, a waste of time in a world that needs concrete help and boots on the ground, remember that human beings are not flesh alone. We are flesh and spirit, living souls, created by God as part of his grand story and pre-wired for storytelling.

What can you do for the suffering person in addition to all the humanitarian efforts I listed above?

You can tell their story.

When it feels like the end, that’s only the beginning

Counting down the days until Write on the Red Cedar 2016, which starts this Friday in East Lansing. This will be my third year attending (it’s only three years old) and second year presenting. Earlier this month I was on the WOTRC blog answering some questions about success, failure, the books I’ve read the most, and more. Click here to read it.

Beyond WOTRC, I have articles to work on for the Women’s Fiction Writers Association before the month is up, and I’m still finishing up the renovations in our chapel at church. Just have window treatments and a little touch-up painting to go. When I looked ahead to January back at the end of last year and saw the commitments I had already made, I decided that February 1st was going to be my new year, my fresh start. That’s the month I plan to bring back some good habits I’ve had in the past, namely getting up earlier and using the quiet morning time alone to read, write, pray, and journal.

On the bedtime story front, the boy and I are smack dab in the middle of Watership Down and things are looking bleak. Holly’s team has just come back from Efrafa with many injuries but no does, and Hazel’s been shot after the raid at Nuthanger Farm. As I closed the book Saturday night, Calvin’s voice wavered as he wondered what would happen now. “Don’t worry,” I said. “This is just the beginning of the most exciting part of the story.” It’s a cliché that things are always darkest before the dawn, but that is often how the story goes, isn’t it?

Today is Martin Luther King Jr. Day in the US. Race relations have taken a serious hit in the past five years. Or perhaps the wider culture is just now noticing how bad things still are despite the work of Dr. King and countless other people who devoted their lives to seeking justice and equality in this country. The national mood must seem a lot like it did fifty or sixty years ago. Indeed, things look strikingly similar. Racial unrest, a long military conflict overseas from which we cannot seem to extricate ourselves, prominent political figures calling for the profiling and restriction of those with differing beliefs. I find it difficult to be optimistic.

Yet, what can make us rise to the occasion like opposition?

The rabbits of Watership Down will have to use all of their courage and cunning to save their warren. They cannot give way to fear, or they’re through. There’s only one way forward, and it’s down the most treacherous road. There are no guarantees of success. But to not go down the road at all means certain failure.

Don’t those make the best stories? When there is no choice but to walk through the fire?

There is nothing like a hard winter to make the spring all the more glorious.

Moving a Novel from Brain to Page

The last time I was drafting a novel, I used checklists, maps, house plans, foam boards, photos, a loose outline, and a bunch of notes to keep myself on track. It worked beautifully. That manuscript, working title The Bone Garden, is making the rounds among some literary agents I deeply respect. I have high hopes for it to be my debut novel.

OLYMPUS DIGITAL CAMERA

But in the meantime, I’m beginning my work on a new manuscript. This time around I’m doing some of the same preparatory work. I’ve been busy reading background material and making notes.

OLYMPUS DIGITAL CAMERA

I’ve managed to outline the first half of the book and am already adding notes to it.

OLYMPUS DIGITAL CAMERA

I’ve been spending a lot of time simply focusing on who my protagonist is and where she is coming from, work that I’ve not done quite as much of on the front end in the past.

OLYMPUS DIGITAL CAMERA

I’m doing much more of this preparatory backstory work now because I’m hoping to write in a very deep first person point of view, and it’s hard to do that if you don’t know your protagonist intimately from the very start.

OLYMPUS DIGITAL CAMERA

I’ve made a list of big thematic questions that will be considered in the course of the story. I’ve even written the beginnings of a query letter to focus my mind on the core story.

OLYMPUS DIGITAL CAMERA

All of this preparation amounts to me being able to start off the drafting process with a clear idea of where I’m going and how I’m going to get there. Every day new information falls into place. Every day I add to my little notebook. Every day the story takes up more permanent residence in my brain.

And on November 1st, the first day of NaNoWriMo, it will begin to take up residence on the page.

So, What’s Your Point?

Snowy Forest

My dreams are rarely guided by what we might call a plot. Nothing actually happens in them. They are scenes that flow nonsensically one into the next and go NOWHERE.

My husband can attest to this. The poor man is often subjected to partial recounts of my dreams–partial because at some point he simply walks away because he knows this is going nowhere and yet will not end. He even used my “method” of dreaming in a sermon to illustrate the difference between reading Scripture as a bunch of boring, unrelated stories (“and then this happened and then this happened and then this happened”) and reading it as God’s very well plotted and intentional story (which he generously compared to my more deliberate method of writing) in which we find purpose and meaning. In case this interests you, you can listen to it here. It also contains a fascinating tidbit on the real St. Nicholas, who was apparently a bit of a hothead and prone to decking heretics. True story.

Now, I’ve been busily working on February’s short story, The Door, which I have deliberately made a bit dreamlike. Last week I realized that this was becoming a problem. It was becoming much too much like one of my actual dreams–rambling and random and pointless.

So I stopped writing. And I started plotting. I thought about this story in the shower. I thought about it in bed. I thought about it in the car. I thought about it but did not write down anything I thought of. I just allowed myself to think it through, to think myself into a plot, a purpose, a point.

While turning back toward home on an ill-fated trip through white-out conditions to my office today (Lake Effect Snow = 1, Erin = 0), everything fell into place like fat snowflakes aiming directly for their spot on the ground (rather than swirling madly around my car). I got home safely, put a space heater at my feet, and got back to work with the lovely feeling in the back of my mind that I now know where this story is going.

Dreams are okay. Their very weirdness is interesting. But interesting is not really enough for a story. Writers, we owe our readers a bit more than a rambling but interesting story. We at least owe them a compelling plot or, as is often the case in shorter fiction, a point.

How can you take those intriguing but (admit it) pointless scenes and weave them into a larger tapestry to make them an essential part of your plot? How can you give your readers a clear (though pleasantly winding) path through your forest of very lovely, very interesting trees?