How Objects Tell Your Story

Teddy Bear

 

by Mindy Halleck 

In 2011,I embarked on one of the harshest undertakings; I placed what I thought was the final draft of my novel in a drawer for one year. Why? Because, as I told others in my most knowledgeable author voice, “A writer needs distance from their material before editing and rewriting.”

While that’s true, the real reason was, the story didn’t work. I thought it worked, it worked in my head, but based on a few shrewd readers it didn’t work in theirs.

During that year–fighting the wicked temptation to tweak pages, chapters and plots–I turned my attention to books on rewriting, in search of a magic key to unlock my manuscript and turn it into a novel, the kind people wanted to read. I took workshops and reaped too many tips to list. All that matters is that nothing helped, until one day. . .

I read yet another craft book, and SHAZAM! You know how it feels when something simple smacks you like a Mack truck of a good idea? Well, chapter 14 in The Weekend Novelist Re-Writes the Novel by Robert J. Ray, did that for me. The ‘objects lesson’ taught me to utilize my story objects (often called plot-devices) as shorthand for backstory and eliminate a lot of dense narrative.

Finally, that magic key!

“Objects tell your story, Ray writes. “When you rewrite your novel, you can tighten your story by repeating a single object; car, train, statue, slipper, harpoon, book. There’s a good chance the objects are already there, in your manuscript, waiting to be found, to be selected, to be repeated, to be laid down like neon breadcrumbs in the forest. Readers follow breadcrumbs.”

I began to see the power of storytelling objects everywhere. What’s Lord of the Rings without the ring, Cinderella without glass slippers, The Notebook without the book, or poor little Forest Gump without his box of chocolates?

No glass slippers, no enchanted tale, just a barefoot girl with an unfortunate name who probably does not go from rags to riches and who likely does not find her fella . . . what’s the point?

In Nicholas Spark’s novel The Notebook, that evocative leather bound book literally contains their love story. And that chocolate box on Forest Gump’s lap is a metaphor for the story to come; “Life is like a box of chocolates, you never know what you’re gonna get.” And oh-boy does that plot device set up and deliver a story.

Though easily overdone, an object that’s well-crafted, or emerges organically from setting or characters can establish a character’s values and thus inform and enhance the story.

In a Willamette Writers Conference screenwriting/storytelling workshop taught by Clark Kohanek, he too touched on the objects lesson. “Think about Die Hard,” Kohanek said, “when Bruce Willis enters with the teddy bear. We immediately know that object defines what’s important to him; family.”

That fuzzy teddy bear represents Willis’s values and reenters the story burnt and dirty, but safe, like him, ready to reunite with what he values so much he’d kill for. That object represents the driving force, and heart of the story because it’s valued by the protagonist.

Eventually, in rewriting my novel, the protagonist, Theo Riley, now has a toy soldier, a stack of blood-stained returned love letters, and a photograph of Korean Orphans. This trinity of objects define him, inform his moral compass and ultimately chart his destiny. These objects give the reader an understanding of Theo on a deeper level. They are backstory shorthand, and explaining it once eliminated pages of narration, because when the reader sees the tin soldier, letters, or pictures (Neon Breadcrumbs), they remember . . . because objects are a writer’s magic keys.

 

 

Guest post written by Mindy Halleck. Mindy is a Pacific Northwest author, award winning writer, and writing & social media instructor. Her short story, The Sound of Rain, which placed in the Writer’s Digest Literary Contest blossomed into her first novel Return to Sender. Halleck blogs at Literary Liaisons and is an active member of the Pacific Northwest writing community.


Intent to HoldIntent to Hold

Sonoma County Sheriff’s Deputy Nick Ryan answers a call from his estranged wife in Mexico to help find her kidnapped brother. When he and his partner Meredith Ryan arrive, they find the crime is not as simple as they were told.

Betrayed and caught by the police, they are expelled from Mexico. Returning to Puerto Vallarta by boat at night, Nick and Meredith battle nature, Federales, crime cartels and even Nick’s own family to rescue his brother-in-law.

To complicate their mission, Nick must face the end of his marriage while Meredith hasn t yet put her own nightmares to rest. Thonie Hevron’s 35-year career in law enforcement fueled this action-packed story.


 

 

 

 

 

 

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22 thoughts on “How Objects Tell Your Story”

  1. Thank you for hooking me up to Robert Ray. I scanned the samples of the two books, number one about the weekend novel and two about the rewrite. I’m comfortable with his style. Thanks.

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    1. That’s great to hear. I will pass this on to Robert. I have enjoyed working with him and learning his approach to storytelling. Best of luck. Mindy Halleck

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  2. Ryan and Mindy, thanks for this helpful article. As you see I have reblogged it and tweeted it and some other writers also found it helpful. I have a book coming out in June in which I employ this technique. It’s called Ms Murphy’s Makeover. My “object “is a mans pinky ring.

    Sent from my iPhone

    >

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  3. Interesting post. I made a comment just yesterday to Sunny Frazier’s post on Novel Spaces to blogspot and mentioned The Weekend Novelist Writes a Mystery by Ray and Remick. I wasn’t aware they had one on rewriting. I’ll have to look for that. Thank you.

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    1. Yes, Jack and Bob both are masters at certain aspects of storytelling. I had the pleasure of writing with them for many years. Do check out the rewrite, It’s incredibly helpful. Cheers, Mindy.

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      1. Actually, I bought it right after this post. I think I need that information in Chapter 14 and maybe the whole book. I should get it tomorrow or the next day.

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    1. Oh that’s exciting when you realize you already have it. I think that comes from an innate sense of story that we all have. Good job. Cheers, Mindy

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  4. Reblogged this on tanyascreams and commented:
    Some objects define a person, like Han Solo’s Millennium Falcon and Harry Potter’s Firebolt or Nimbus 2000. They say that that person has got to be nearby. as was pointed out to me today When a friend asked “Hey where where you? We thought you were dead.” “I was dead. How’d you know?” “We saw the garlic bread and thought that if there was frickin’ garlic bread around, you would be in the area, but you weren’t, and it turned out that you actually were dead.”
    But it doesn’t have to be a physical object. It could also be a color, like yellow is associated with the sun, or like the violence associated with Trump rallies.

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