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How Fiction Works

Authors: James Wood, James Wood

Overview

This book explores how fiction works, examining its fundamental elements like narration, character, detail, language, and style. My target audience is anyone interested in reading and writing fiction more seriously – those who want to understand how great novels achieve their effects. I show how the modern novel has moved away from the theater toward a new kind of realism which is both more realistic and more artificial.

For me, realism is not a set of rules, but rather an effect, and one that relies on the skillful use of specific techniques. I look at how narration establishes a relationship between writer, character, and reader, focusing on the use of free indirect style. I also explain why detail is so important, and how realism and detail are connected in unexpected ways. Using examples from authors like Chekhov, Updike, Bellow, I argue that the most powerful details are often those that seem irrelevant at first glance, but resonate with unexpected meaning.

Character development is a major focus. I look at why flat characters are often more memorable than round ones, challenging E. M. Forster’s conventional view, and why writers like Dickens and Austen succeed by their use of flat characters, and how caricature differs from successful character creation. I also examine the idea of a character’s consciousness, and how it has been represented in fiction throughout history.

I explore the importance of language in fiction, showing how writers use metaphor, simile, and rhythm to achieve different effects. I use the example of Henry Green’s theory of dialogue to examine the challenges of rendering dialogue realistically, and how this ‘realism’ is often produced artificially.

Throughout the book, I maintain that fiction is a kind of magic trick, a conjuring act where the writer makes something from nothing. I offer practical guidance for both readers and writers, encouraging them to examine fiction with a more critical and appreciative eye. My approach is practical: I try to ask theoretical questions but answer them practically – I hope this book is one that asks a critic’s questions but gives a writer’s answers

Book Outline

1. Narrating

I explain the different types of narration which are open to novelists. The basic forms are first-person and third-person, with the other varieties being far rarer.

Key concept: The house of fiction has many windows, but only two or three doors.

2. Flaubert and Modern Narrative

I establish the general importance of Flaubert in developing modern narrative. I show how he made realism more realistic but also more artificial. I emphasize his technical innovations, such as free indirect style, and the conflation of static and dynamic detail.

Key concept: Novelists should thank Flaubert the way poets thank spring: it all begins again with him.

3. Flaubert and the Rise of the Flaneur

I show how Flaubert’s innovations developed free indirect discourse and the rise of the flaneur, the observant walker of a city street. This was developed in prose as a move away from the theater, where characters’ ‘inner’ thoughts are often given in the necessarily performative form of soliloquy.

Key concept: Flaubert decisively established what most readers and writers think of as modern realist narration, and his influence is almost too familiar to be visible.

4. Detail

I look at how novelists use detail to create a picture of reality. The challenge for the writer is to find the right level of detail, and not to overdo it.

Key concept: But it’s not possible any other way: only in the details can we understand the essential, as books and life have taught me.

5. Character

I explain that character is very hard to create. I look at different writers’ approaches to the challenge. The importance of characterization and whether a writer should be seeking round or flat characters is considered.

Key concept: There is nothing harder than the creation of fictional character.

6. A Brief History of Consciousness

I consider the development of character’s consciousness from the soliloquies in plays and prayers of the Bible to the modern novel.

Key concept: The novel begins in the theater, and novelistic characterization begins when the soliloquy goes inward.

7. Language

I consider the importance of finding the best words to use when constructing a passage.

Key concept: The aspiring poets must try to fill in the blanks.

8. Dialogue

I discuss how a novelist uses dialogue and whether, as Henry Green argued, it can be a more effective way for the writer to communicate with his or her readers than by using exposition.

Key concept: Green noted that the wife’s first response, “Will you be long?”, could be rendered in scores of different ways … each one capable of a distinct resonance of meaning.

9. Truth, Convention, Realism

I consider the challenge of realism and argue that the novelist is always working with at least three languages (the writer’s, the character’s and that of ‘the world’). This creates a tension within the creation of narrative.

Key concept: Realism, seen broadly as truthfulness to the way things are, cannot be mere verisimilitude … but what I must call lifeness: life on the page, life brought to different life by the highest artistry.

Essential Questions

1. What is literary realism, and how is it achieved in fiction?

Realism, for me, isn’t a fixed set of rules or a naive attempt to mirror reality. It’s an effect, created by specific techniques to evoke a sense of lifeness in the reader. This involves a careful selection of details, a nuanced use of language, and a deep understanding of character psychology. A writer creates realism through artifice, carefully constructing a world that feels both familiar and surprising. It’s about capturing the essence of experience, not just its outward appearance. Therefore, what makes fiction feel real is the writer’s ability to create an illusion of life on the page, through skillful manipulation of language and form.

2. Are ‘flat’ characters inherently less valuable than ‘round’ characters in fiction?

The conventional view, as espoused by E.M. Forster, privileges ‘round’ characters, those who develop and change throughout a narrative. However, ‘flat’ characters, often dismissed as caricatures or types, can be just as vivid and compelling, especially in the hands of skilled writers like Dickens and Austen. These flat characters often embody essential human truths or characteristics, illuminating something universal through their very limitations. I find such characters interesting, and argue that writers can often create richer meaning through the focused exploration of a specific trait or characteristic, compared to a writer seeking a diffuse and elusive ‘roundness’.

3. How can a writer balance their own style with the need to create believable characters?

The novelist faces the challenge of balancing authorial style with the need to inhabit the consciousness of characters. When a writer’s own style overwhelms the character’s voice, it can create a sense of distance and artificiality. However, when the author completely disappears, it’s impossible to generate complex effects through language. The balance is best struck using a technique like free indirect discourse, which allows both the writer and the character to inhabit the language. This creates dramatic irony, allowing the reader to see more than the character can see, and to occupy multiple perspectives simultaneously.

1. What is literary realism, and how is it achieved in fiction?

Realism, for me, isn’t a fixed set of rules or a naive attempt to mirror reality. It’s an effect, created by specific techniques to evoke a sense of lifeness in the reader. This involves a careful selection of details, a nuanced use of language, and a deep understanding of character psychology. A writer creates realism through artifice, carefully constructing a world that feels both familiar and surprising. It’s about capturing the essence of experience, not just its outward appearance. Therefore, what makes fiction feel real is the writer’s ability to create an illusion of life on the page, through skillful manipulation of language and form.

2. Are ‘flat’ characters inherently less valuable than ‘round’ characters in fiction?

The conventional view, as espoused by E.M. Forster, privileges ‘round’ characters, those who develop and change throughout a narrative. However, ‘flat’ characters, often dismissed as caricatures or types, can be just as vivid and compelling, especially in the hands of skilled writers like Dickens and Austen. These flat characters often embody essential human truths or characteristics, illuminating something universal through their very limitations. I find such characters interesting, and argue that writers can often create richer meaning through the focused exploration of a specific trait or characteristic, compared to a writer seeking a diffuse and elusive ‘roundness’.

3. How can a writer balance their own style with the need to create believable characters?

The novelist faces the challenge of balancing authorial style with the need to inhabit the consciousness of characters. When a writer’s own style overwhelms the character’s voice, it can create a sense of distance and artificiality. However, when the author completely disappears, it’s impossible to generate complex effects through language. The balance is best struck using a technique like free indirect discourse, which allows both the writer and the character to inhabit the language. This creates dramatic irony, allowing the reader to see more than the character can see, and to occupy multiple perspectives simultaneously.

Key Takeaways

1. Fiction creates ‘lifeness’, not just lifelikeness.

One of the central arguments of my book is the power of ‘lifeness’ in fiction, which is different from verisimilitude. It’s the author’s ability to create a sense of living, breathing reality on the page, using techniques like free indirect style and suggestive detail. This allows the reader to inhabit a character’s mind, seeing the world through their eyes, understanding their motivations even when those motivations remain unspoken. This close identification between reader and character goes beyond mere empathy; it expands our understanding of what it means to be human.

Practical Application:

In product design, understanding user needs and motivations, even those unexpressed, is crucial. By observing user behavior and ‘reading between the lines’, designers can create products that meet both explicit and implicit needs. For example, a user may say they need a faster processor, but their behavior suggests they’re actually struggling with a cluttered interface. A good designer recognizes this disconnect and prioritizes simplifying the user experience over increasing processing power.

2. Precision of language is paramount in fiction.

My discussion of language in fiction emphasizes the power of precision and the importance of choosing the exact right words. Just as a musician carefully selects notes to create a melody, a writer must pay attention to rhythm, sound, and connotation to create the desired effect. I look at how writers like Flaubert and Bellow use language to create a unique style, and also to inhabit different characters. I show how seemingly simple sentences can be incredibly complex and rich in meaning, and how small changes in wording can dramatically alter a sentence’s impact. And I argue that this attention to language is crucial for creating lifeness in fiction.

Practical Application:

During meetings, avoid unnecessary jargon and filler. Instead, prioritize clarity and conciseness, letting the most important points resonate. Like a well-chosen detail in fiction, a carefully crafted statement can have greater impact than a lengthy explanation. For example, instead of saying ‘We need to synergistically leverage our core competencies’, try ‘We need to focus on what we do best’. This directness avoids cliché and communicates the message more effectively.

3. Fiction is a collaborative process between writer and reader.

Throughout the book, I emphasize that fiction is a form of exploration, where both the writer and the reader discover meaning together. I question the traditional notion of authorial omniscience, arguing that even in third-person narration, the author’s perspective is always limited. I look at how writers like Henry James and Muriel Spark create ambiguity and uncertainty around their characters, inviting the reader to participate in the process of interpretation. This active participation, this construction of meaning, is what makes reading fiction so rewarding.

Practical Application:

When developing an AI model, don’t assume you know everything about how it will be used. Like a fictional character, an AI can behave in unexpected ways. Create opportunities for user feedback and observation, allowing you to ‘read between the lines’ of the data. For example, if users are consistently rephrasing their queries to an AI chatbot, it suggests the chatbot isn’t understanding their initial intent. This requires investigation, not just retraining with the rephrased queries.

1. Fiction creates ‘lifeness’, not just lifelikeness.

One of the central arguments of my book is the power of ‘lifeness’ in fiction, which is different from verisimilitude. It’s the author’s ability to create a sense of living, breathing reality on the page, using techniques like free indirect style and suggestive detail. This allows the reader to inhabit a character’s mind, seeing the world through their eyes, understanding their motivations even when those motivations remain unspoken. This close identification between reader and character goes beyond mere empathy; it expands our understanding of what it means to be human.

Practical Application:

In product design, understanding user needs and motivations, even those unexpressed, is crucial. By observing user behavior and ‘reading between the lines’, designers can create products that meet both explicit and implicit needs. For example, a user may say they need a faster processor, but their behavior suggests they’re actually struggling with a cluttered interface. A good designer recognizes this disconnect and prioritizes simplifying the user experience over increasing processing power.

2. Precision of language is paramount in fiction.

My discussion of language in fiction emphasizes the power of precision and the importance of choosing the exact right words. Just as a musician carefully selects notes to create a melody, a writer must pay attention to rhythm, sound, and connotation to create the desired effect. I look at how writers like Flaubert and Bellow use language to create a unique style, and also to inhabit different characters. I show how seemingly simple sentences can be incredibly complex and rich in meaning, and how small changes in wording can dramatically alter a sentence’s impact. And I argue that this attention to language is crucial for creating lifeness in fiction.

Practical Application:

During meetings, avoid unnecessary jargon and filler. Instead, prioritize clarity and conciseness, letting the most important points resonate. Like a well-chosen detail in fiction, a carefully crafted statement can have greater impact than a lengthy explanation. For example, instead of saying ‘We need to synergistically leverage our core competencies’, try ‘We need to focus on what we do best’. This directness avoids cliché and communicates the message more effectively.

3. Fiction is a collaborative process between writer and reader.

Throughout the book, I emphasize that fiction is a form of exploration, where both the writer and the reader discover meaning together. I question the traditional notion of authorial omniscience, arguing that even in third-person narration, the author’s perspective is always limited. I look at how writers like Henry James and Muriel Spark create ambiguity and uncertainty around their characters, inviting the reader to participate in the process of interpretation. This active participation, this construction of meaning, is what makes reading fiction so rewarding.

Practical Application:

When developing an AI model, don’t assume you know everything about how it will be used. Like a fictional character, an AI can behave in unexpected ways. Create opportunities for user feedback and observation, allowing you to ‘read between the lines’ of the data. For example, if users are consistently rephrasing their queries to an AI chatbot, it suggests the chatbot isn’t understanding their initial intent. This requires investigation, not just retraining with the rephrased queries.

Suggested Deep Dive

Chapter: Chapter 2, Flaubert and Modern Narrative

This chapter lays the groundwork for many of the subsequent discussions in the book, establishing Flaubert’s importance in the development of modern narrative techniques.

Memorable Quotes

Chapter 1, Narrating. 10

I think that fiction writing which does not acknowledge the uncertainty of the narrator himself is a form of imposture which I find very, very difficult to take.

Chapter 3, Detail. 59

But it’s not possible any other way: only in the details can we understand the essential, as books and life have taught me.

Chapter 4, Character. 95

There is nothing harder than the creation of fictional character.

Chapter 6, Language. 181

The greatest benefit we owe to the artist, whether painter, poet, or novelist, is the extension of our sympathies.

Chapter 7, Dialogue. 223

Green argued that dialogue is the best way to communicate with one’s readers, and that nothing kills ‘life’ so much as ‘explanation.’

Chapter 1, Narrating. 10

I think that fiction writing which does not acknowledge the uncertainty of the narrator himself is a form of imposture which I find very, very difficult to take.

Chapter 3, Detail. 59

But it’s not possible any other way: only in the details can we understand the essential, as books and life have taught me.

Chapter 4, Character. 95

There is nothing harder than the creation of fictional character.

Chapter 6, Language. 181

The greatest benefit we owe to the artist, whether painter, poet, or novelist, is the extension of our sympathies.

Chapter 7, Dialogue. 223

Green argued that dialogue is the best way to communicate with one’s readers, and that nothing kills ‘life’ so much as ‘explanation.’

Comparative Analysis

Compared to E.M. Forster’s Aspects of the Novel, this work offers a more writerly perspective on fictional techniques, delving into the mechanics of crafting compelling narratives. While Forster provides a broader overview of novelistic elements, I focus specifically on how writers create lifeness through detail, language, and characterization.

Unlike Roland Barthes’ structuralist approach in S/Z, which dissects narrative as a system of codes, I argue that realism, while employing conventions, can still convey profound truths about the world. Barthes’ focus on artifice and the ‘death of the author’ contrasts with my belief that authorial presence, even when obscured, shapes the reader’s experience. Milan Kundera, in his essays on the art of fiction, offers a novelist’s perspective, while I bring a critic’s eye to the craft, offering practical insights for both writers and readers. While Kundera explores thematic and philosophical aspects of the novel, I concentrate on the technical execution of narrative elements. My book also has overlap with books about close reading of literary texts.

Reflection

In a broader context, my book examines the ongoing tension between artifice and verisimilitude in fiction, reflecting the enduring human desire to create meaning from the world around us. While some postmodern theorists may argue that realism is a bankrupt project, I suggest that the desire to represent reality, however imperfectly, remains a powerful force in both literature and human experience. The skeptical angles on realism raised by Barthes and others are valuable, but shouldn’t lead to a wholesale rejection of the form. Rather, their critique should encourage writers to be more self-aware and innovative in their approach to realism. The book’s strength lies in its close attention to how specific techniques create specific effects. Its weakness may be its focus on the realist novel, potentially neglecting other important forms of fiction. Overall, the book offers valuable insights into the craft of fiction, reminding us that even within established conventions, there’s always room for originality and innovation.

Flashcards

What is a ‘flat’ character, according to E.M. Forster?

A character who is given a single, essential attribute, which is repeated without change.

What narrative technique allows a writer to inhabit a character’s consciousness while maintaining authorial presence?

Free indirect style.

What constitutes ‘thisness’ in fiction?

Any detail that centers our attention with its concreteness and palpability.

The rise of the flaneur, the observant walker of the city streets.

What narrative effect does free indirect style achieve?

The ability to inhabit multiple perspectives at once, creating dramatic irony.

What is a ‘flat’ character, according to E.M. Forster?

A character who is given a single, essential attribute, which is repeated without change.

What narrative technique allows a writer to inhabit a character’s consciousness while maintaining authorial presence?

Free indirect style.

What constitutes ‘thisness’ in fiction?

Any detail that centers our attention with its concreteness and palpability.

The rise of the flaneur, the observant walker of the city streets.

What narrative effect does free indirect style achieve?

The ability to inhabit multiple perspectives at once, creating dramatic irony.