Pat Conroy
Since the moment I cracked open my first Pat Conroy novel many years ago I have been a fan. The Great Santini, The Lords of Discipline, The Prince of Tides: these are great classics. Long delicious reads filled with lyricism and passionate description.
So when my friend, writer Char Bishop, loaned me her copy of Writer’s Digest (she always shares them with me – so generous – but that’s Char) and I discovered it had an interview with Pat Conroy inside, I raced home and devoured it. (It’s the May/June 2011 issue, if you’re interested. The interviewer is Lynn Seldon.)
Much of the interview is about Pat Conroy’s marriage to writer Cassandra King, author of The Sunday Wife. It’s a peek into the home life of two writers cohabitating. Interesting stuff. But one question was asked that produced an answer from Mr. Conroy that sent my little writer brain into paroxysms of ponderation. The question was a simple one: If you could each give one piece of writing advice, what would it be?
Mr. Conroy’s reply? Go deeper.
Now, sometimes when I read a famous writer’s advice I scratch my head, mumble something profound like, hmmm, and then move on. But this response made me have to put the magazine down and take the dog for a walk – one of the activities I engage in when I have to do some heavy thinking.
Because I knew exactly what Mr. Conroy meant. It was a light bulb moment for me. I knew following this advice would make Sword of Mordrey better. And I wanted to go over the novel in my head and find the places where ‘going deeper’ would achieve that.
Were there places in my novel where I could go deeper into what my characters were thinking and feeling, and why? Could I bring this out, not just in their interior monologues, but in their behavior and reactions, as well?
And not just my characters, but the medieval world I’ve created too. Are there places where I can show more? Maybe in just a few brief words that suddenly make the atmosphere gritty and visceral and get right up in the reader’s emotions? I knew I had to seek those places out too.
By the time I got back to the house I realized I would have to do yet another full rewrite. Not a fun prospect on the surface. I’ve already done so many. But as I sat at my desk the following morning those two words still strobed in my head like a lighthouse beacon. And the mists were beginning to clear.
Writers, what does ‘going deeper’ mean to you? Are there places in your WIP where you could go deeper? How do you identify them? What do you feel the overall effect would be on your novel? And more importantly, on your novel’s readers?
May 23rd, 2011 at 7:13 am
Thought-provoking post! I am getting close to finishing my WIP and beginning my first round of edits, so your timing couldn’t have been better!
I think we can always go deeper with our characters, and the deeper we go the more likely readers are to enjoy them.
Now going deeper with my book’s world is one I wouldn’t have thought of, but it’s very valid.
Great post!
May 23rd, 2011 at 11:00 am
Hey, Stacy
So glad you enjoyed this post and found it helpful. That’s exactly how the WD article struck me! Funny how sometimes just the right prompt will come into our lives exactly when we needed it.
Thank you for stopping by
May 23rd, 2011 at 8:27 am
Feel it and live it. Pour myself into my characters. Become my characters. If what I’ve written doesn’t move me, emotionally and spiritually, then I haven’t gone deep enough. AND, I need to care deeply about what I am writing. I can’t write just to write. I must have something to say, a deeper message. There’s that word again. Deeper. Deep into the soul, into the brain, into the heart, even into the abyss, if that’s what it takes. Thank you for the reminder, Cynthia.
May 23rd, 2011 at 10:57 am
So true, Eric. Without something important to say, what’s the point? Even into the abyss? That’s very deep, indeed, and also implies a darkness I haven’t seen in the WIP you share with the group. But who knows what you will write next? Maybe it will be something broody and dark. Very much loving how your WIP is coming along.
May 23rd, 2011 at 10:26 am
Very interesting. It’s so true though. One can always go deeper than what they started with. I’ve seen this in my own writing, by just using more descriptive words to illustrate things. It’s tough though. So I can see where it would be frustrating too. By the way, I love Pat Conroy too and will have to pick up that interview with him. Loved “Prince of Tides” and last year read “South of Broad.” Did you read that one? Thoughts?
May 23rd, 2011 at 10:47 am
I haven’t read South of Broad, Leah. Heard it got mixed reviews. What did you think of it?
May 27th, 2011 at 10:19 pm
Well, I must tell you I was slightly disappointed. I think I expected so much more since I waited to buy the book until it came into paperback. And I have such high expectations since Prince of Tides. It’s a good read. But don’t go into it expecting greatness.
May 23rd, 2011 at 10:35 am
Going deeper to me means really inhabiting your characters: feeling like them, thinking like them,seeing the world through their eyes. If I am finding this hard I go for a walk and I look at the world around me and I think, for example, ‘If I was Simon, back in England on short leave from fighting in the trenches in WWI, how would I see the English countryside today? Would I contrast it with the ravaged fields of France? Would I hear a lark sing and remember hearing one in the woods in Normandy during a lull in a battle? Might a car backfiring make me leap for cover? Might I find myself feeling homesick for the trenches and the companions I have left behind? Might I feel strangely exposed being out in the open or superstitious about lighting a cigarette although there are no snipers around?’ Then I go home and put in some of those details. It brings the piece to life – provides specifics and accesses the character’s emotions without my having to say ‘He felt depressed’, or ‘He felt out of place in England,’ which is telling the reader rather than letting them feel and see inside the character. You have to become your character – get inside their skin – the way a method actor does.
May 23rd, 2011 at 10:53 am
Oh, I love your description of what it means to you, Umi. You express it beautifully. Funny how taking a walk and thinking about being your character can be so helpful, isn’t it? Sounds like your WIP is about a soldier in WWII. Is it? I bet it’s wonderful.
Thanks so much fo stopping by and leaving your thoughtful comment.
May 23rd, 2011 at 11:20 am
What a great question, Cynthia. I think it’s a tough one, though, as many readers prefer “not” to be that deep into their character’s minds. I think I tend to err on the side of too much “emotion” in my writing (and my preference for reading), which we all know can become burdensome or overly sentimental and lachrymose (so, “add more emotion” is how I would interpret “going deeper.” I think of it as an emotional connection). Hard to know how to strike that balance with readers, though.
ON another note, I love Pat Conroy, too (but was so disappointed with SOUTH OF BROAD recently.) I also met his wife at the Tucson Festival of Books in 2010. Lovely woman; how fun that two writers are married to one another. I haven’t read her work; have you?
May 23rd, 2011 at 11:28 am
No I haven’t read her work. And haven’t read South of Broad, either. But plan to.
Too much emotion can bog down an otherwise good plot. You’re right about that. And I can’t stand overly sentimental writing.
Striking the right balance is paramount. I tend to write action and must go back in later and add more about motivations and internal reactions, etc.
I think living with another writer could be okay, if we kept the same writing schedule. But I write mornings and if he wrote nights, we would never see each other. LOL!
May 23rd, 2011 at 11:35 am
I’m really fleshing this idea out too as prompted by my reading of Story Engineering. I’ve been writing down one plot point and asking “How can this go deeper?” and rewriting it over and over until it’s a much more nuanced, conflict-full scenario. It’s advice that will always apply, and sigh, force another rewrite. Take your light-bulb-moment and run with it!
May 23rd, 2011 at 1:21 pm
Thanks, Sara
When do the rewrites ever end? I figure I’ll keep doing them until the benefit to my novel is so slight it’s no longer worth it. Until I can’t create any further meaningful conflict or nuances.
Thanks for your input!
May 23rd, 2011 at 12:29 pm
I know this is completely necessary….but my whole problem with “going deeper” is that it’s not just the characters or the readers it has an affect on–but also me. Especially if I’m writing about something that’s unpleasant or difficult or just not too happy, then sometimes I resist going any deeper than I have to because it may mean raking up hard-to-face feelings.
May 23rd, 2011 at 1:18 pm
Yes, I totally agree! I think that’s why I tend to write historical fiction, rather than fiction set in modern times. My real feelings tend to bleed over and it can get quite wrenching. But if the world and times aren’t recognizable to me I’m better able to keep my feelings apart. (Guess that makes me a chicken, LOL!)
May 23rd, 2011 at 1:42 pm
I think there are times when you have to go deeper. We need to see what the character sees, feel what the character feels and try to understand the reasons behind their emotions. There are also times that probing too deeply is a mistake. Maybe the character is minor and for the reader to become emotionally invested in them would take away from the main character and storyline. Also, at times it would take away the element of surprise to have your reader experience everything your character knows and feels.
I think both tactics have their place. It’s up to the writer to decide what would work best.
May 23rd, 2011 at 1:52 pm
Really good points, Diana!
May 23rd, 2011 at 2:12 pm
As a former Charleston gal I do love Pat Conroy! I think going deeper has to to with finding a place that makes both you and your character uncomfortable. If the author and the characters don’t find themselves squirming at some point, I don’t think the story will ring true.
South of Broad is great, BTW.
May 23rd, 2011 at 2:37 pm
Hi Stephanie, Yea, that squirmy feeling does tell you the emotion is hitting home, unpleasant as it may be.
I am so glad to hear someone say South of Broad is great! You know how it is when you love an author…just can’t stand to think he could write anything bad!
May 24th, 2011 at 6:16 am
Oh, going deeper means Inception.
And funny enough, that’s a brilliant point. If you haven’t seen the incredible movie, here’s the important parts: Inception is to plant an idea in someone’s mind through dreams. But to make the idea seem legitimate, like it came from the person dreaming and not an outside source, they have to go deeper, a dream within a dream (within a dream), and plant the most basic concept into the sleeper’s mind. So when they wake up, they are consumed by this idea, and they make it into their reality.
That strikes me as really true for writing, too. Going deeper isn’t just about knowing your people and your world, it’s being able to identify the most absolute basic premise in your story, to know the seed that starts the idea. Without that knowledge, wouldn’t a concept be slightly underdone? Like singing in Latin and not knowing what you’re saying, even if you get all the notes right and express all the right emotions.
~Ashlee
http://www.ashleesch.com
http://theDragonsHoard.bigcartel.com
May 24th, 2011 at 6:25 am
You make interesting points, Ashlee. And I like your use of Inception to make them. Yea, without a premise I can’t even begin to write anything, short story or novel. You gotta have that, at the very least!
Thanks for stopping by and taking the time to leave your thoughtful comment
May 24th, 2011 at 6:07 pm
This is such a great post–something I KNOW I need to work on. I often look back at my work and find it needing depth.
May 24th, 2011 at 7:58 pm
Ooh…interesting thought. For me, going deeper doesn’t mean necessarily writing more, but making what I write count. Choosing the vivid details, changing the character’s narrative based on their emotional state are things I am working towards.
My current focus in my WIP is in integrating more details about the setting–but not the shallow details. I want to focus on what the elements of the setting reveal about the characters, and how do they react? What are their biases?
But if you ask me next week, I may have a different answer!
May 27th, 2011 at 5:08 am
Great post, Cynthia! I’m editing my WIP at the moment and this is timely advice. It’s actually exactly what I needed to hear. Go deeper. I’ve already thought of a few places that I need to revamp. Thank you so much.
May 27th, 2011 at 5:30 am
Interesting.
However, everything needs a measure. Too much of something and it might not be good or liked by others.
Thank you for the post
May 29th, 2011 at 12:35 pm
I just received that same issue and read the Q&A with Mr. Conroy and his wife, Cassandra. The advice about going deeper had a similar effect on me. It’s a great prompt to have on your writing desk, isn’t it? Best of luck with your WIP!
June 2nd, 2011 at 7:11 am
Going deeper means actually writing down that picture I carry in my head with words, I think. Many times a reader will find something unclear, and on revising I see that I have not described the picture I see fully. As a writer, it is important to “go deeper” and then bring the reader with you on the trip not as an observer but a participant. Thanks for asking the great question.
December 13th, 2011 at 8:18 am
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