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Scott Lax Blog

Writing in a Noisy Age

Susan Sontag said, "I don't write because there's an audience. I write because there is literature."

Sontag, a fiction and nonfiction writer, wrote to achieve standards of literary excellence. She did not pander for the sake of having more readers, or “followers," in today's lexicon. Sontag studied great writers and she read incessantly. She worked for nearly her entire life to be literary - which is to say, to write things that last.

Today we live in an even noisier age than when Sontag was in her prime. The Web and many books are full of words that are seemingly just strung together, often about trivialities.

If you are an aspiring writer, life is too short to write about nothing but trivialities, or to appear hip, while avoiding ideas that really matter. To think that advertising and self-promotion and droll, often baseless observations are at all akin to the literature that Sontag produced is wrong. If you're a humorist, pointing out our foibles to make others laugh, is service to humanity. If you’re a diarist, or a blogger who simply wants to get your thoughts out there, fine.

But this blog is for those who care about writing as a serious art and craft. Sontag was an artist and a craftswoman. Read writers like her, or Joan Didion, or E.B. White, or Sherman Alexie,or John Irving, or James Baldwin, or anyone who moves you because he or she is really writing, not just typing.

In my own days of grief - my mother and sister having just passed away - I cannot think of a more important message to those who wish to write seriously than this: Try to make it matter. Have courage. Don't stop trying. Write through grief and joy and boredom. Write when you're inspired and when it's a drag. Just don't quit, unless you really don't have anything to say; because there is nobility in being a plumber, or carpenter, or stockbroker (still). You don't have to be a writer. But if you want that, be willing to sacrifice for your art. Life, my friends, goes by all too quickly.  Read More 

Thank You.

Thank you for all your notes and calls of sympathy.

Upcoming Tribute to Pat Lax Davidson

I'll be posting a tribute to my sister Pat Lax Davidson this coming Thursday. It will run in various editions of The Sun News.

Patricia Lax Davidson, 9 March 1948 - 2 June 2009

"Death is simply a shedding of the physical body like the butterfly shedding its cocoon. It is a transition to a higher state of consciousness where you continue to perceive, to understand, to laugh, and to be able to grow."
-- Elisabeth Kübler-Ross, M.D

Earning Dialogue

Good dialogue in fiction needs to be earned. It can't just be thrown in because the words sound pretty, or impressive, or fancy, or complicated, or "dramatic." For example, here's a bit of dialogue from the movie, "Closer," which was adapted from the play of the same name. (Patrick Marber wrote both; the great Mike Nichols directed the film.) Two of the characters in the film are played by Jude Law (Dan) and Natalie Portman (Alice). Listen to how brutal and blunt this dialogue is, spoken toward the end of the film:

(Spoiler alert.)

Scene:

Dan comes back down the hall, steals a rose from outside another room. He walks in and offers her the rose.

ALICE: I don’t love you anymore.
DAN: Since when?
ALICE: Now. Just now. I don’t want to lie. Can’t tell the truth, so it’s over.

Only three lines of dialogue. Yet they are, to me, devastating. Why? Because all of their previous actions and dialogue in the movie earned the characters the right to use few words to convey total annihilation of a relationship. Alice doesn't need more words because she sees Dan's callowness, suddenly and starkly; you can see the love (whether it was mature or not) leave her as suddenly as as a vase breaking into a thousand pieces. Dan's shock is understandable; yet because he never really got her in the first place, and perhaps he never really saw her as a real person. Maybe he never really got what it was to love. And maybe none of that is right...still, so much happened before that dialogue that viewers can debate endlessly about what was going on. That's where Marber's art comes in: he's not telling us what to think; rather, he's showing a romance fall apart before our eyes and allowing us to decide what happened.

What matters in this context is that the characters and actors may use simple dialogue because the writer earned it.

Listen to the dialogue that moves you, both in print, on stage and screen. Ask yourself why it moves you. I think you'll find the answer lies in the intricate and extremely hard work the writer put in to the story before that dialogue occurred.

Do that in your own fiction. Allow your characters to earn their dialogue. It's hard work, but I think you'll find that your characters' words will pack more power. Words mean little but for what is behind them. You know the phrase, “talk is cheap.” So is dialogue, unless it's earned. It’s dramatic tension that matters. Dialogue is a medium for expression, not expression in and of itself.  Read More 

Northern Ohio Live has Ceased Publication

On the homepage of this blog, you can find the official press release from Northern Ohio Live, which has ceased publication. My thanks to the publishers and editors that ran my freelance column and features for the past five years. I wish them all the best.

Northern Ohio Live Magazine Update

I'll be posting the updated status of Northern Ohio Live magazine tomorrow. Stay tuned.

Writing Perspectives & Wicked Curveballs

In an interview in "The Paris Review," Truman Capote said, "Writing has laws of perspective, of light and shade, just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself."

In other words: Creativity without an underlying discipline and order tends to read as chaos. When you've learned the basics of grammar, usage and style -by all means, break the rules if you want, or bend them; use wild, original colorings and shadings in your writing, if that's what suits you and your work.

Think of a baseball pitcher with a screaming fastball and wicked curveball. If he or she can't get it over the plate, though, he or she will be off the team and throwing his or her pitches against an old barn somewhere.

First, get it over the plate.