Resonance

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Lakey

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I've been reading Sol Stein's Stein on Writing, which I am mostly finding inspiring. Even if I have questions about some of his examples, or some of his broader assertions, it's a superb overview of many concepts that inhere in the craft of writing. It makes me want to dive into my manuscript and start improving things. I'm very appreciative.

His discussion of the concept of resonance, however, left me wanting more. Stein explains that resonance is "an aura of significance beyond the components of a story." He then discusses a vast array of sources of resonance, so disparate as to give the whole discussion a tantalizing vagueness. Resonance, he says, can come from biblical reference, historical allusion, hyperbole, reference to life and death, broad philosophical statements, the use of aphorisms (!), and on and on. He even asserts that made-up psychological theories and technobabble can lend resonance to a story. Stein finds reasonably good examples of these techniques for achieving resonance (I'm not at all convinced by the aphorisms or the made-up psychology). On the other hand, some of the techniques would be very dangerous if not handled with care (such as philosophical statements).

The chapter left me thinking that resonance is nothing less (and nothing more) than writing meaningfully about things that are of importance to people. Perhaps one can do that using any of the approaches he gives, or thousands of others; much easier, I think, would be to use any of those approaches and fail spectacularly.

I want to write meaningfully about meaningful things. It's a central goal for me. If you ask what my novel-in-progress is about, I can truthfully say "it's about lesbians in the McCarthy era," but I would like to be able to say "It's about desire, duty, and fulfillment" and be equally truthful. I wonder if resonance is what makes that possible. Yet cameos by historical figures and characters spouting down-home philosophy are not going to get me there.

What do you think? Have you encountered the concept of "resonance", in Stein or elsewhere? Do you find it illuminating to think about?
 

sideshowdarb

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It's something I think about a lot, though not in as concrete terms as Stein. There's an intersection here with intertextuality, in terms of referencing other works or ideas in yours that then lend your book/story a thematic or conceptual weight if the reader picks up on it. That's the key, in a lot of ways. Readers pick up on different things. The idea of resonance is really what resonates with them. In my experience, it's usually something I didn't expect. Every reader brings their own experience with them, so aspects of your story will be illuminating or upsetting in ways you can't anticipate. That's the joy of reading and also working with CPs, because someone will have an idea you never considered. My own practice is to write about the things that matter to me. Odds are they'll matter to someone else. It's about having the conversation, with the reader, with the books that spoke to you and the books that will speak back to yours, if you're lucky enough.
 

Siri Kirpal

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Sat Nam! (Literally "Truth Name"--a Sikh greeting)

Resonance is one of those topics that's easy to give a name to, and fairly easy to give examples for, but not so easy to discuss or write about.

In music, resonance is caused by overtones and reverberation. And you know it when you hear it. And I think, the same is true of writing. You know it when you read it. When the metaphors and the dialogue and the whatevers mesh together in ways that ring beyond the basic words and plot, when they set up ripples that extend outward beyond their usual meaning, then you've got resonance.

How do you get there? As with nearly everything in writing, it depends.

The resonance of Patchett's Bel Canto, for instance, hinges on her unspoken allusion to Mann's The Magic Mountain, which in turn is an allegory on how we get caught/trapped/held hostage by life. But that isn't going to work for most books.

I've noticed a general distain for broad philosophical statements here on this board, and yes, they can be preachy or misused. But I've found books where they do create resonance...and not necessarily because I agree with them. The book Broken for You by Stephanie Kallos does this well.

Blessings,

Siri Kirpal
 

CAQuinn

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resonance!!! great topic. levels and layers here. on the surface let's say its what strikes a chord, right? somebody/thing does or is/lacks something that pulls at us deeply. and it has to last too, right? it has to rattle around or stretch back and forth within us. but as sideshowdarb says "Readers pick up on different things." so different things resonate for different people. i think what we writers want is a big resonance that will strike deep in all we can. think of a zeitgeist... something that really captures a generational movement. or maybe its a huge fish out of water thing, or a heroic action or sacrifice, putting the character in between the hammer and anvil. how would we feel if that happened to us?
'
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The Black Prince

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Interesting thread.

I've read just about everything by George Orwell, including his essays and published correspondence. One of his more famous essays is called Why I Write - which includes a passage to the effect (I'm paraphrasing here) that any writer who isn't dealing, on some level, with the important themes of his/her epoch is merely footling.

I guess publishing is profoundly different these days but "literature"...I would venture to suggest...is the same. Everything I do is a little bit literary (if not quite at Orwell's level) and I hope that some might describe it as having resonance despite the constant sex, violence, evil and humour.

By the way, I have invented both philosophies and aphorisms in my writing.
 

Lakey

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I have nothing against philosophy or aphorism, invented or otherwise - I only questioned the ability of aphorism in particular to lend resonance. Both unquestionably valuable tools for characterization or voice. But resonance? Stein’s examples aren’t exactly convincing. I’d be less skeptical with a better example.

Maybe Forrest Gump’s down-home philosophies which he sums up in his own aphorism will serve. “Life is like a box of chocolates; you never know what you’re going to get.” Clearly that resonates with a large audience, as it has entered the popular lexicon with life almost independent of its origin.

That’s a post-hoc judgment of success. And perhaps that is part of what’s tugging at me with respect to the notion, and in particular with respect to Stein’s handling of it. Some of the comments on this point to a Stewartian test for resonance; you know it when you see it. It’s a feeling, a chord striking, capturing a zeitgeist, touching something in the reader. It’s hard to get a handle on.

Maybe that’s all right. Maybe resonance is a slippery thing to get a grasp on, less technical and more artful than, say, POV, not something as readily achieved through technical exercises and practice.

I’ll be much more disappointed in myself if I fail at it than if I fail at something technical and fixable.
 

The Black Prince

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Write it out a hundred times: I must be more resonant.

In all seriousness, I think if a person has resonance, then their writing will have resonance - simple as that.

For what it's worth Lakey, I sense resonance in your writing. I know that sounds like a big call from someone who knows you not at all, but there's a yearning humanity there which is palpable and surely one of the touchstones of resonance.

Hope that didn't sound patronising - it wasn't meant to be.
 

Helix

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Write it out a hundred times: I must be more resonant.

In all seriousness, I think if a person has resonance, then their writing will have resonance - simple as that.

For what it's worth Lakey, I sense resonance in your writing. I know that sounds like a big call from someone who knows you not at all, but there's a yearning humanity there which is palpable and surely one of the touchstones of resonance.

Hope that didn't sound patronising - it wasn't meant to be.

I don't understand how a person can have resonance.

Isn't resonance about producing work that connects with and reinforces the reader's ideas, philosophy, and/or experiences? So it's going to be something of significance for some readers, but not others. Wot Lakey, sideshowdarb and Siri Kirpal said ^.
 

The Black Prince

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I suspect resonance is in the eye of the beholder to some extent.

But a person to whom the universal mind is important will reflect that in their writing, and such will resonate with those of appropriately cultivated sensibilities.
 

Ari Meermans

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I suspect resonance is in the eye of the beholder to some extent.

But a person to whom the universal mind is important will reflect that in their writing, and such will resonate with those of appropriately cultivated sensibilities.

No, I wouldn't say that at all. Resonance is more in the "inner ear". It strikes a chord much like a musical instrument; it makes you want to say "yes!" whether or not you've ever thought of the idea in quite that way. It sticks with you and is self-reinforcing.
 

mccardey

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No, I wouldn't say that at all. Resonance is more in the "inner ear". It strikes a chord much like a musical instrument; it makes you want to say "yes!" whether or not you've ever thought of the idea in quite that way. It sticks with you and is self-reinforcing.
Oh, that's nice. :Sun: I agree with that. ^
 

Lakey

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Write it out a hundred times: I must be more resonant.

In all seriousness, I think if a person has resonance, then their writing will have resonance - simple as that.

For what it's worth Lakey, I sense resonance in your writing. I know that sounds like a big call from someone who knows you not at all, but there's a yearning humanity there which is palpable and surely one of the touchstones of resonance.

Hope that didn't sound patronising - it wasn't meant to be.

Not at all; it was kind and I appreciate it. :Sun:

Although others have objected to your assertion that a person can have resonance, I think I might understand what you mean in a slightly different way. Perhaps you are saying that for a work to achieve resonance, the writer must be thoughtful in a certain way. The writer must have some personal depth, have spent some time thinking about whatever notes she wants her writing to sound. I mean, I suppose one could write a resonant story out of plain luck, but to do it consistently one would have to be intentional about it.

I can resign myself to the notion that there might not be exercises one can do to practice resonance, as there are to practice strong characterization or creating tense dialogue. Alas. ;)
 

Siri Kirpal

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:Sun:
Although others have objected to your assertion that a person can have resonance, I think I might understand what you mean in a slightly different way. Perhaps you are saying that for a work to achieve resonance, the writer must be thoughtful in a certain way. The writer must have some personal depth, have spent some time thinking about whatever notes she wants her writing to sound. I mean, I suppose one could write a resonant story out of plain luck, but to do it consistently one would have to be intentional about it.

I can resign myself to the notion that there might not be exercises one can do to practice resonance, as there are to practice strong characterization or creating tense dialogue. Alas. ;)

Sat Nam! (literally "Truth Name"--a Sikh greeting)

That's how I took the Black Prince's statement too.

I guess the one exercise for resonance is practice.

Blessings,

Siri Kirpal
 

jjdebenedictis

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I...have a fairly complicated answer for this. Gird your loins.

Humans have logical problem-solving capacities, but we also have associative problem-solving capacities. Logical thinking is "4+4=8". Associative thinking is "8 looks like a snowman with his head pushed off"; it's when we make a connection between one thing and another thing.

Not to imply the hemispheres of the brain don't talk to each other, because they do, but there is a rough division of labour in what they do. The hemisphere of the brain responsible for logical problem-solving also takes care of things like keeping track of time and understanding language. The hemisphere of the brain responsible for associative problem-solving also takes care of creating emotions, forming "big picture" understandings, and imagining scenes and sensations.

I've come to believe that everything we experience as "art" is the stuff that triggers the associative-thinking hemisphere of the brain. When we vividly imagine a scene, or experience emotions, or put together clues to understand the unspoken thesis of a story, that's us getting what we want out of art. When we're immersed enough in the art, the other hemisphere of the brain even takes a backseat, to the point where we lose track of time, miss obvious plot holes (logic), and stop noticing that we're reading words on a page.

So: Putting in references to other works of art helps prompt associative thinking, where your brain makes a connection between what's on the page of this book with something it remembers from another book (or work of art).

So yes, that "echo" serves to stimulate the proper hemisphere of the brain and thus contributes to our enjoyment of art as art.

However, so does vivid writing, triggering the reader's emotions, putting together a good mystery out of subtle clues, and echoing experiences the reader has personally had (another type of "resonance").

I think there are a lot of ways to create a work of art that people will enjoy, with the common denominator being that you have to stimulate the correct parts of the brain, but using intertextual references is just one way of doing it. It falls flat for people who haven't read widely enough to pick up on the references, and it's not inherently superior to any of the other ways to do it. It's simply a tool in the toolbox; use it when appropriate.
 
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The Black Prince

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Yes, agree with all that. Your point about echoing experiences the reader has had is very important and something I use all the time. I'll very frequently try to use words to trigger sensory memories which locate the reader in my world via their own experience. Smell and hearing are very powerful triggers.

There's a lot of sensuality in my work but not a huge amount of description when it comes to sex scenes. All of my readers have their own erotic memories and that's what I try to tap into when writing such scenes. Same goes for walking through a forest or driving a car.
 

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I...have a fairly complicated answer for this. Gird your loins.

Good post. It's button-pushing, both negative and positive.
On the positive side it's, 'oh yes, I can identify with that,' particularly if the author has an interesting slant on it.
But it's the negative aspect that perhaps resonates more with me.
By way of example: many years ago I was vilified in the local press when our business went bust - I thought unfairly. Whenever I read of similar situations it really pushes my buttons.
I also think it's difficult to include passages that resonate positively with the reader while actually adding to the story. It's not enough to merely describe something, it has to be relevant and associative.
Anyhow, an interesting take, thanks.
 

Lakey

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Good post. It's button-pushing, both negative and positive.
On the positive side it's, 'oh yes, I can identify with that,' particularly if the author has an interesting slant on it.
But it's the negative aspect that perhaps resonates more with me.
By way of example: many years ago I was vilified in the local press when our business went bust - I thought unfairly. Whenever I read of similar situations it really pushes my buttons.
Well that’s a super-interesting point. I used the button-pushing metaphor in a review I wrote of the book that triggered the obsession that got me trying to write a novel in the first place. I wrote: “It pushed all my buttons, then reached in and pushed buttons I didn’t even know I had.” That is resonance, perhaps, but it is also extremely personal. The other people to whom I have talked about this book (three of whom love me enough to have read it in response to my reaction to it) all liked it very much, saw the quality and the craft in it. But it didn’t grab them by the guts as is it did me, for whatever number of reasons.

Likewise a story in which a business owner is unjustly smirched is going to resonate with you far more deeply than with your friends, even those who know you well and understand why it touches you so deeply.

Perhaps that is the dumb-luck element of resonance. That is, if you’re good, you can strike some universal themes and touch your readers, but only a few readers will have just the precise mental configuration to be absolutely destroyed by what you’ve written.

In physics one talks about a broad resonance, which is a resonance that can be stimulated by inputs at a wide range of frequencies around the central frequency. A broad resonance will vibrate at whatever frequency you put in, but only for a little while; the vibrations die away quickly. The converse is a narrow resonance, which selects for a very specific frequency, and continues to vibrate at that frequency for a long time. These are called low-Q and high-Q resonators, respectively. I think with respect to the book that inspired me, my friends were low-Q and I was high-Q, a narrow resonance struck just the right way, still vibrating nearly two years later.
 
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Qwest

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Perhaps that is the dumb-luck element of resonance. That is, if you’re good, you can strike some universal themes and touch your readers, but only a few readers will have just the precise mental configuration to be absolutely destroyed by what you’ve written.

Yes, this (dare I say it) resonates with me. Great way of putting it. How many times have I read a book that I loved and pressed it on friends who didn't have the same reaction? Many - and of course the converse is also true. I feel you're right, it's a deeply personal reaction, but as with your example of the Forest Gump aphorism, resonance does sometimes tap into something in the popular imagination.

An interesting discussion!
 

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I have definitely encountered this concept but with a twist. The resonance must come with a plate loaded up with an array of emotions. As writers, we study other people's work. I've noticed the themes that resonated with me have always been able to stir my emotions. Other times I read books knowing what the universal theme would be with confidence it was going to be a great read only it felt flat. No matter how hard I tried I couldn't connect with the book. The concept of resonance isn't pure luck in my opinion. Many books don't stir the heart any more because I feel many people don't know how to evoke emotion in the reader. We can write meaningfully all we want but if our writing doesn't evoke the emotions of our characters it won't ever touch the hearts of many. The books that touch the hearts of many stir our emotions and make us feel like we are one with the main character. Of course, this is only my take on it. :)

If you're interested The Emotional Craft of Fiction by Donald Maas is an excellent read.
 

bombergirl69

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No, I wouldn't say that at all. Resonance is more in the "inner ear". It strikes a chord much like a musical instrument; it makes you want to say "yes!" whether or not you've ever thought of the idea in quite that way. It sticks with you and is self-reinforcing.

I really like this, because yes, very much like a chord. For me, it could be over a variety of things--some might be more trivial than others. I have resonated with a character's take on a work problem, for example, nothing particularly intense but a definite yes, like that as well as with more emotionally laden material. Pat Conroy, in his epic Prince of Tides (a book I both adore and loathe) has a line that I have used over and over with clients (and they tend to resonate with it as well!), just resonated with it so much. Took a complex concept and make it so clear and accessible!

I tend to side on the "it's in the beholder" though, although great writers obviously create material many resonate with! (In the way people react differently to certain movies!) Things that get me to YES! may not affect another in quite the same way.
 

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So...resonance is subjective. The more popular the theme the more chance it has to resonate. Like love, money or health for example, many of us can identify with them. If we overcome difficulties associated with those themes it resonates and induces a feel-good factor. If we fail to conquer them, it resonates more powerfully, but with far fewer people.
 

The Black Prince

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There are probably levels and degrees of resonance - involving universal themes at one end and personal minutiae at the other. I suspect a very strong form of resonance is when a character is confronted with something personally relevant to the reader. Especially if an unusual situation where (for example) a character is wrongly judged for something with which the reader can identify from personal experience. We've all been wrongly blamed for things both important and unimportant and it is particularly aggravating - that's an easy button to press.
 
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