'Real' Art by Bill Kirton

‘Reality’ is a fascinating idea. I’ve written several blogs which approach it from the perspective of the writer trying to convince his/her readers to invest in and believe in the ‘truth’ of what they’re reading. I’m repeating here the essence of one such essay which appeared on my own blog. It was about theatre being a collaborative process. Of course it is, that’s obvious. But I want to take the idea of collaboration a little further. I said then that I thought the director had much more power in movies or TV plays than in the theatre and, consequently, the writer’s role was overshadowed. But there’s so much more to it than that.

In a chapter of a book about writing which I co-wrote with Kathleen McMillan, we drew a parallel between editing film and editing text. The relevant passage runs as follows:

‘It’s like the process of editing film or video; a scene is shot from various angles, favouring different perspectives, emphasizing different aspects of what’s happening but, in the edit suite, the material is reviewed, selections are made and then spliced together to create a fluid ‘real’ representation of events. The editor creates a ‘reality’ on the screen which never actually happened as a single episode. As a writer, you want to create the same sense of flow, blend selected pieces of the information you’ve collected into a single, coherent sequence, create your own, unique written ‘reality’.’

If you’ve never been involved in making a movie, this totally artificial ‘reality’ it creates is puzzling. On the screen you see, for example, a woman reach for her scarf and have difficulty tying it round her neck because she’s so angry with her partner. She’s shouting at him and tells him that he must either spend more time with her or she’ll leave him.

Then she grabs her car keys from the table and goes out, slamming the door behind her. There are probably cutaway shots of the partner, attempts at bits of dialogue from him. There may also be some other element – visual or aural – that’s in the scene to symbolise something or maybe hint at a shared memory or a harbinger of something sinister waiting to happen.

The important thing in connection with the point I’m making here is that what you see as a single sequence never happened, so the reality it’s offering is a lie. Having to set the camera up in different places to highlight the different characters and objects involved takes several minutes, even days – but the editor cuts it together and what we see is a seamless scene lasting maybe 20 seconds.
But then, we’re judging its reality by the way it mirrors what we see around us – people slamming doors, having a row, fumbling with items of clothing. It’s just a straightforward picture of it. And yet it’s not, because the editor and director will have cut the scene to suit their purposes.

Maybe they want you to dislike the woman, or maybe they suggest that the argument she’s having is simply a cover for something else, or perhaps the two characters are being manipulated by someone or something outside their awareness. And so, as we watch, we’re being manipulated too; our judgement is being deliberately compromised so we become accomplices of the director …
… just as our readers become our accomplices when it comes to the written word, because this process of creating a seeming ‘reality’ out of disparate incidents and actions is even stranger in prose fiction. Let’s just take one example from the scene I’ve been describing. We’ll make it as basic as possible and write:

‘Samantha grabbed her scarf and walked to the door.’

OK, so how many actions does she perform? Two, you cry – ‘grab’ and ‘walk’. But wait, didn’t she maybe look at the scarf? Reach towards it? OK, four then.
But she must have opened and closed her fingers too, so six. And the more you break the sequence down, the more the actions multiply. So much so that, in the end, the simple act of reaching for the scarf requires an infinite number of steps as neurons fire in the brain, amino acids do what they need to do to provide the fuel which energises the muscles, the lungs take in oxygen, the heart pumps the blood to where it’s needed, nerve endings relay messages that contact has been made with the material, etc., etc.

In other words, what we describe and perceive as one fluid, meaningful action consists of millions of sub-routines without which the whole edifice crumbles.
But such detailed analysis would be unreadable and is, obviously, unnecessary – because we collaborate with the writer. We’re grateful to him/her for breaking infinite complexity down into a couple of distinct, apprehendable movements.

But, again, we’re being manipulated because not only does the writer reduce the action count, he/she chooses the words to convey them. If I write ‘water’ you might think of oceans, a tap (or faucet), a bath, a kettle, a cup of tea, a pond, a river, a shower, a glass. But the more I qualify it, the more I restrict the interpretations available to you – ‘running water’, ‘hot running water’, ‘a bloodstained copper tube from which hot running water spewed into the stagnant, viscous residues at the bottom of the pit’. Hmm, still fancy a glass of wine?

Art is artifice and yet it produces realities far more profound and affecting than most of those around us. As I keep saying to myself and repeating to anyone who reads my blogs, it’s a joy to be doing something that lets us pretend there are meanings and significance somewhere and even to create our own. Isn’t it great that, out of scraps of experience which we’ve woven together in our little room, we can make someone in Brazil, Australia, Canada or anywhere feel an actual emotion? Once again, it’s that mystical, intimate, one to one connection that’s so fundamental to the reader/writer collaboration. It’s the reality of fiction.


Jan Needle said…
All very well, Mr Kirton - but who is H?
Jan Needle said…
And why do half the cast insist on calling him/her Haitch?
Susan Price said…
Great blog, Bill -- and yes, the 'magic of writing' is a wonderful thing. It can even do time-travel, allowing us to be with people who died hundreds, even thousands of years ago.
I love the analogy of writing as a film editor splicing together a scene! Will borrow this for my classes. Great post.
Julia jones said…
Really impressive. Almost wish I was back at university so I could buy your book
Bill Kirton said…
Ah, Sir Jan, I’m afraid that I don’t follow the péripéties of televisual drama (although, like you, I confess to experiencing inordinately apoplectic reactions to the ‘Haitch’ brigade). Also, it’s just occurred to me that, given that you hail from Portsmouth, the nominative determinism of your forename must be relatively galling since it evokes the residents of a competitive Channel port, my own home town – Janners.

Thank you, Susan. And, of course, it also allows us to resuscitate them.

Thank you, too, Dipika. You flatter me – and I enjoy that.

'Unknown', I’d willingly write a reference to go with your application.
Sandra Horn said…
You are so good at thought-provoking, Bill - intriguing post! I hope I can sleep tonight now - head buzzing!
Bill Kirton said…
Sorry, Sandra. Maybe I'll try a lullaby next month.
Umberto Tosi said…
You're in good company with this stimulating post, Bill. Sergei Eisenstein, the Russian pioneer in the use of montage, pointed out that moviemaking is all in the editing. In his seminal 'Film Sense' and 'Film Form,' he goes into great detail showing - as you have done - how film directors can follow the lead of literary writers in telling a story visually - blocking out, for example, line-by-line of stories by Balzac and Maupassant, as montage for the camera.
Bill Kirton said…
Indeed, Umberto. In fact, as an ex-lecturer in French, Balzac (especially) always struck me as a 'filmic' writer. There's such solidity in his people and places. On the other hand, Stendhal and, above all, Flaubert get so much more out of words than their actual meanings.
Bill Kirton said…
And to all, my apologies for the unrelated participle in the previous post. Mea definitely culpa.

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