The making of a novelette (part 3)
In his nice little book Writing the Novel, Lawrence Block, while describing how he incorporates all kinds of disparate elements into his fiction, uses an image for the creative process that I’ve always thought was particularly appropriate:
I may borrow a bit of physical description, for example, or a mannerism, or an oddity of speech. I may take an incident in the life of someone I know and use it as an item of background data in the life of one of my characters. Little touches of this sort get threaded into my characters much as bits of ribbon and cloth are woven into a songbird’s nest—for color, to tighten things up, and because they caught my eye and seemed to belong there.
Most writers, I imagine, can relate to this. As carefully as any novel or story may be planned, many of its constituent parts will end up being the result of chance, impulse, or random inspiration. “Kawataro” is no exception. Although what I’ve described so far might sound like a fairly rational process, that rationality, if it exists at all, occurs mostly in the intermediate planning stage. When it comes to the details of the novel itself—the characters, the scenes, the small touches that make a story live—the process is much more intuitive, and the results can take even the author by surprise.
The backgrounds of the characters in “Kawataro,” for instance, were a combination of pragmatism and personal inclination. For my viewpoint character, Hakaru, I had a particular type in mind: a smart, observant outsider, but not a scientist, which would allow me to explain certain concepts to the reader in a way that was hopefully unobtrusive. I’ve used the figure of a journalist in a number of stories (including the upcoming “Warning Sign” and “The Boneless One”), partly because I’m married to one, but also because it’s a job that involves asking questions and going into unusual places, which is useful from a storytelling point of view. For a change of pace, I decided to have Hakaru (named, incidentally, for this man) be a videographer with a research background. I knew that projects like the one I was describing were usually videotaped, so he had a good reason for being there. Plus I’ve done a lot of video production myself, so I could easily describe his work if necessary (although it ended up not entering the story at all).
My other main character, Dr. Nakaya, was a bit more determined by the plot I had already sketched out. She had to be a scientist involved in the study of language formation among the burakumin of my fictional village. At some point, it occurred to me that she might also be a burakumin herself. Once these details had been established, her character quickly fell into place: intelligent, slightly severe, but emotionally involved with the predicament of these villagers in ways that were only gradually revealed. As for the other characters, they were mostly functional types—a few fell into the category of characters, familiar from The X-Files, destined only to be victims—but I tried to invest them with at least some specificity. (For some reason, I love Miyamoto’s pink shirt, which is inspired by a similar shirt worn by a figure in The Cove.) And the three sinister children at the heart of the story were clearly rooted in my memories of spooky kids from The Grudge and similar movies, with one of them wearing a red raincoat that was my homage to Don’t Look Now. (It’s an homage that would seem overly obvious in a straight horror movie, but which works pretty well in a different genre.)
Now that I had a general plot and a cast of characters, all that remained was to fill out the story itself. Many of the scenes were dictated by the shape of the conventional story I’d chosen: an outsider arrives in a small town, meets the locals, is confronted with violent and seemingly supernatural events, and finally discovers a rational explanation. In the details, though, I was free to indulge myself. The scene in which a little girl with a bouncing ball watches Dr. Nakaya argue with Miyamoto, then later implicates her in his murder, was a straight homage to The Third Man. Many of the visual details of the story—the rain, the figure in the woods, the children’s drawings unexpectedly revealing a monster—were taken from the vocabulary of horror movies. The layout of my imaginary village determined the beats of the chase scenes. And the image of the dead innkeeper, folded up like a frog, came from a dream I had over ten years ago, which I was glad to finally use here.
In the end, then, I had a story constructed from many dissimilar elements—an article in a science magazine, a Japanese legend, a few character ideas, memories of favorite movies, even dreams—which all came together, I hope, in a seamless and inevitable way. Tomorrow, I’ll wind up the discussion by talking a bit about the revision and submission process, and how I feel about the story that resulted. (For other installments in this series, please see here, here, and here.)