Frame of Reference

HANK PHILLIPPI RYAN: Jonathan and I were at a wedding a few years ago, and dancing, and the band changed to a new song. Jonathan paused, and cocked his head, listening.  “That’s familiar,” he said. “What’s the name of that song again?”

 I looked at him. Was he kidding? He wasn’t.

 “Satisfaction.” I said.

 Okay, now, so are you laughing? Or not? It’s all about frame of reference, right? And for authors, we have to be careful of that.  Because what we know--something “common” as the Rolling Stones biggest hit—may not be familiar to our readers. And that “Huh? Who? What?” moment can stop a book in its tracks.  If we assume readers share our personal shorthand--that ‘s potential trouble. 

 I’m looking over some writing I did several years ago, actually, nine years ago, and instantly see the all the frame of reference problems. Not only names, but milieu.  I had Regis and Kelly on TV. Oops.  Someone in the hospital says they’re in ”Ben-Caseyland.”  Would my readers know what that means?  Tyra Banks. Hmm.  Frontline. That’s still on, right? Or is it?  Oprah is still okay, I guess, and Martha Stewart. But her insider trading? Is that such old news that it’s no longer accessible? Or meaningful?

  When my first book, PRIME TIME (about a veteran TV reporter who discovers a secret code), was being promoted in 2007, I wanted to say it was “Murphy Brown meets Dan Brown.”

  My editor said—and be ready for this—“Your readers will not know who Murphy Brown is.” I will pause while you digest this on so many levels.

 To that point,  (that people might not know what you’re talking about), there’s a brilliant article in the New Yorker (a terrific magazine known for in-depth articles, fiction, and cartoons J ) by JohnMcPhee (author and essayist, one of my faves J ) called Frame of Reference. And this short-cut pitfall is one of the points of it.

 I spoke to a high school class in Florida recently—I say “to” advisedly, since it was more like “at” but you never know when you’re getting though, right? And I asked—since I was about to tell a lovely and inspirational story about her--if anyone knew who Judy Collins was. (Yes, my bad, but one keeps trying).

 Zero. Zero. Not a hand, not a nod, not a glimmer.

  On the other hand, if I looked at the list of current Grammy nominees, I bet I would have the same reaction to some of them. Most of them.  (Okay not all of them right? Right? That can’t be.)  But if someone said to me: “She was as charming as Charli XCX “ I would have no idea if that was a compliment, or if it was irony.

 And if someone said—“She looked just like a young Charli XCX”—again. Nuthin. You lost me.

(This is Charli XCX. But you knew that. Right?)

 John McPhee beautifully and hilariously (as always) discusses the pitfalls of such descriptions. He says: “If you say someone looks like Tom Cruise--and you let it go at that—you are asking Tom Cruise to do your writing for you. “ He calls it “borrowed vividness.”

 Borrowed vividness. Love it.

 Because, of course, the description ain’t so vivid if someone has no idea who Tom Cruise is.   Even though we think—EVERYONE knows who that is, and always will, and besides, I’m not writing the great America novel, I just want someone to remember it tomorrow, you know? And besides, Jane Pauley will always be on the Today Show. Right?  Ah, yeah.  

 It’s tempting to use the short cuts, no matter how clever we are. But most often—it’s unsuccessful. (The wonderful Julie Hyzy gave a class a few months ago, in which she said “Write this down: Never use short cuts.”  I think of it every day.)

 So here’s one for you.  In PRIME TIME, the main character is Charlie McNally. Someone says to her: “Sorry, Charlie.”  And she thinks: I hate that tuna line.

Should it stay? Or should it go? (And extra credit if you are singing now.)

 AND BIG NEWS: There's a Goodreads giveaway of THE OTHER WOMAN! (Which won the MAry Higgins Clark Award, and was nominated for the Anthony, Agatha, Macavity, Shamus and Daphne!) Right now! Click here...
 
https://www.goodreads.com/giveaway/show/127902-the-other-woman 

 

 

Comments

[Karen in Ohio]

No clue about Charli XCX, either.

But you make a good point; hopefully, you aren't just writing for someone to read today. With great good luck, readers will keep discovering and enjoying your work for years to come. And even if you did, and your readers did, know whether or not Charli XCX was charming or a brat today, in ten years they surely won't.

I just finished a Tony Hillerman (non-Leaphorn) from 1971. It was odd reading about the different kinds of typewriters, and how difficult it was for him to find a telephone in the deserted statehouse. If he had referenced any pop culture of the time, though, it might have resonated with someone like me, in my 60's, but hardly with a young person of today.

[Hank Phillippi Ryan]

Yeah, Karen, it's an interesting balance between historical correctness--of course that's good. And making short-cut references that don't mean anything because they're not understood on the other end.

It happens to me every day when I read Publishers Lunch. A book will be pitched as XX meets YY. Often I think--who the heck is THAT?

I may be..old, and undereducated, or something. :-) But still.

[Sally Schmidt]

I'm here for my extra credit point, hahaha! I love the references and inside jokes because they make me feel more connected with the characters, but you raise a good point. I must be reading a lot in my age group or something but not sure I would like it so much if there were a lot of references to things I know nothing about - or maybe they would go over my head so it wouldn't matter?

Husband and I were imitating some of the old Hanna Barbera characters (who knows why) - Quick Draw McGraw, Yogi Bear, Chopper who loved the dog biscuits . . . hilarious to us. Granddaughter knew who H-B were but no clue about these cartoons. But who on earth is Charli XCX???

Keep writing just the way you do, I love it. ;-)

[Hank Phillippi Ryan]

Aw, thank you Sally! Yup, the chasm of generations especially wide when it comes to TV shows--I missed the entire 1980's, so when someone mentions Full House or Facts of Life, I'm clueless.
But I'm completely conversant in Yogi Bear. Hey hey hey Boo Boo!