{"id":2371631,"date":"2016-04-14T16:34:10","date_gmt":"2016-04-14T21:34:10","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371631"},"modified":"2023-01-06T23:14:04","modified_gmt":"2023-01-07T05:14:04","slug":"writing-identity-part-2","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/writing-identity-part-2\/","title":{"rendered":"Wordsmith or Storyteller: Embracing Your Identity"},"content":{"rendered":"

\"oyan-blog-wordsmith-pinterest\"<\/a>By Daniel Schwabauer<\/strong><\/p>\n

Read Mr. Schwabauer’s first post on finding your identity as a writer \u00bb<\/a><\/em><\/p>\n

Writers tend to be predominately either Wordsmiths or Storytellers.<\/strong> Recognizing your own tendencies is not a magic formula for writing success, but it can be enlightening.<\/p>\n

Wordsmiths tend to focus on images created by words and phrases<\/strong>. They love the sound of words, the texture words create in the mind. Wordsmiths will go back and read a certain passage from a favorite book not just because of how it works as a story or how emotive it was the first time, but because the words sound so cool the way they\u2019re arranged<\/strong>. Wordsmiths typically describe things in glorious detail, but struggle to give those details meaning<\/strong>.<\/p>\n

If you\u2019ve ever written something you loved without really knowing what it meant, you probably have wordsmith tendencies. Wordsmiths are image people.<\/strong><\/p>\n

Ray Bradbury, for example, is a terrific wordsmith. Here is a single sentence from the first page of “All Summer in a Day.” Note the images.<\/p>\n

\u201cIt had been raining for seven years; thousands upon thousands of days compounded and filled from one end to the other with rain, with the drum and gush of water, with the sweet crystal fall of showers and the concussion of storms so heavy they were tidal waves come over the islands.\u201d<\/p>\n

Storytellers, on the other hand, tend to concentrate on the concepts and ideas<\/strong> that make their stories work. They\u2019re more concerned with the idea of a story than its execution, and may struggle when trying to convey believable details. Their inner world may be rich and beautiful, but they find it hard to zoom in on any particularities<\/strong>.<\/p>\n

Storytellers often invent great story concepts but then drop them early in the writing process. They have fewer problems torturing their characters or finding interesting plot twists, but their prose tends to be written in summary mode\u2014using concepts<\/strong>.<\/p>\n

People who rarely read a book more than once (because they already know how it ends) are storytellers. Put simply, storytellers are concept people<\/strong>.<\/p>\n

The opening of Saki\u2019s “The Interlopers” is a great example of a storyteller setting up a tale through concepts. He relies on generalities and passive verbs (both of which I\u2019ve highlighted) because he\u2019s far more concerned with the story concept than with the particular details of setting and description. This story works not because he is using great details (he isn\u2019t), but because he\u2019s using a great concept<\/strong>. The last sentence in the first paragraph is a terrific example of storytelling.<\/p>\n

\u201cIn a forest of mixed growth somewhere on the eastern spurs of the Karpathians, a man stood one winter night watching and listening, as though he waited for some beast of the woods to come within the range of his vision, and, later, of his rifle. But the game for whose presence he kept so keen an outlook was none that figured in the sportsman\u2019s calendar as lawful and proper for the chase; Ulrich von Gradwitz patrolled the dark forest in quest of a human enemy.\u201d<\/p>\n

It\u2019s important to understand that no writer is purely one or the other. To some degree we\u2019re all both. And were both because whichever tendency we have, we still have to translate our imagined story events into both concepts and images<\/strong>. The conversion process is identical, regardless of which type of writer we are. What differentiates us is the ease with which concepts and images spring up in the imagination.<\/strong><\/p>\n

Put this way, it is easy to see the concept\/image tendency as a sliding scale. Here is where I would place a few well-known writers on this scale:<\/p>\n

\"Images&Concepts\"<\/a><\/p>\n

You may disagree with the exact placement, but I\u2019m guessing you agree that Ray Bradbury belongs more on the image side of the scale than the concept side, and that Isaac Asimov is just the opposite.<\/p>\n

Recognizing your own tendencies regarding images and concepts can be very helpful in sorting through the initial stages of writing.<\/p>\n

WORDSMITHS<\/h3>\n

If you\u2019re a wordsmith, you probably get too excited about mediocre ideas because it doesn’t take much for your brain to start feeding you cool images. This is why you can write a 400-page novel only to discover at the end that you don\u2019t really know what you\u2019ve been writing about<\/strong>. (Don\u2019t ask me how I know this.)<\/p>\n

You write best when you discover a great concept on which to hang your amazing details. Take the time to iron out your ideas before you begin.<\/strong> Eventually, you may develop the Bradbury-like ability to begin writing off a single image and continue until you have ferreted out its meaningful story. But that skill takes time and practice.<\/p>\n

Therefore:<\/p>\n

\u2022 Slow down. Take time to examine<\/strong> your images.<\/p>\n

The first image you see is not always the most powerful one.<\/em><\/p>\n

\u2022 Expand<\/strong> the images. What else do you see?<\/p>\n

What might be there that you haven\u2019t noticed? C. S. Lewis saw a faun with an umbrella.<\/em><\/p>\n

\u2022 What emotion<\/strong> is connected to the images?<\/p>\n

What did you feel when you first read the lamp post scene in<\/em> The Lion, the Witch and the Wardrobe?<\/p>\n

\u2022 What meaning<\/strong> does that emotion point to?<\/p>\n

This will give you a hint about where your story is really coming from.<\/em><\/p>\n

\u2022 What structure<\/strong> does that meaning derive from?<\/p>\n

You\u2019re working backwards to find the story, the meaningful conflict.<\/em><\/p>\n

STORYTELLERS<\/h3>\n

If you\u2019re a storyteller, your weakness will be finding too many concepts that rely on fuzzy, ambiguous or incomplete details<\/strong>. The cool story in your head will not be as cool in the reader\u2019s unless and until it is fleshed out.<\/p>\n

As a storyteller you should pick those story ideas that are linked to unusually clear movies in your imagination<\/strong>. Concepts are usually born flawed.<\/p>\n

Therefore:<\/p>\n

\u2022 Examine your ideas for originality<\/strong>.<\/p>\n

What makes your idea unique?<\/em><\/p>\n

\u2022 Combine<\/strong> at least two unexpected ideas.<\/p>\n

This intersection of ideas is usually where you will find the real story.<\/em><\/p>\n

\u2022 What emotion<\/strong> does this combined idea create?<\/p>\n

A story without emotion is not a story at all.<\/em><\/p>\n

\u2022 What meaning<\/strong> does that emotion point to?<\/p>\n

What is the significance of the emotion and its connection to your story idea?<\/em><\/p>\n

\u2022 What structure<\/strong> does that meaning derive from?<\/p>\n

You are working backwards from disconnected ideas to find a meaningful conflict.<\/em><\/p>\n

…<\/p>\n

Where would you place yourself and your favorite authors on the sliding scale? Does taking note of your area of strength help you write?\u00a0<\/em><\/p>\n

…<\/p>\n

\"Daniel_Schwabauer_500w\"<\/a><\/p>\n

Daniel Schwabauer,<\/strong> MA, is the creator of The One Year Adventure Novel<\/em>\u00a0<\/a>and Cover Story Writing<\/em><\/a>\u00a0creative writing courses. His professional work includes stage plays, radio scripts, short stories, newspaper columns,\u00a0comic books and scripting for the PBS animated series\u00a0Auto-B-Good<\/i>. His young adult novels,\u00a0Runt the Brave<\/em><\/a>\u00a0and\u00a0Runt the Hunted<\/em><\/a>, have received numerous awards, including the 2005 Ben Franklin Award for Best New\u00a0Voice in Children\u2019s Literature and the 2008 Eric Hoffer Award. His\u00a0third book,\u00a0The Curse of the Seer<\/a>,<\/em>\u00a0was released in the summer of 2015.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Daniel Schwabauer<\/strong>
\nWriters tend to be predominately either Wordsmiths or Storytellers. Recognizing your own tendencies is not a magic formula for writing success, but it can be enlightening.<\/p>\n","protected":false},"author":13744,"featured_media":2371635,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_post_was_ever_published":false},"categories":[42,45,11,40],"tags":[16041,16042,16055,16044,16054,16043,16053],"post_series":[],"class_list":["post-2371631","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-daniels-writing-log","category-stuck-discouraged","category-writing","category-writing-tips-and-tools","tag-finding-your-identity-as-a-writer","tag-identity","tag-improving","tag-playing-to-your-strengths","tag-storytellers","tag-talents","tag-wordsmiths","entry","has-media"],"yoast_head":"\nWordsmith or Storyteller: Embracing Your Identity -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/writing-identity-part-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Wordsmith or Storyteller: Embracing Your Identity\" \/>\n<meta property=\"og:description\" content=\"By Daniel Schwabauer Writers tend to be predominately either Wordsmiths or Storytellers. 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