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Hello, I am Joy , this week's drama editor. In this issue, we'll talk about epiphany in fiction.
"Do not, under any circumstances, belittle a work of fiction by trying to turn it into a carbon copy of real life; what we search for in fiction is not so much reality but the epiphany of truth."
Azar Nafisi -author of Reading Lolita in Tehran
“Woody makes a movie as if he were lighting 10,000 safety matches to illuminate a city. Each one is a little epiphany: topical, ethnic, or political.”
Gene Wilder
"What can you do if you are thirty and, turning the corner of your own street, you are overcome, suddenly, by a feeling of bliss -- absolute bliss! as though you'd suddenly swallowed a bright piece of the late afternoon sun and it burned in your bosom, sending out a little shower of sparks into every particle, into every finger and toe?"
Katherine Mansfield
"Fiction was invented the day Jonas arrived home and told his wife that he was three days late because he had been swallowed by a whale."
— Gabriel García Márquez |
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Welcome to the Drama newsletter
What makes a story come close to being perfect, if you believe there is no such thing as perfect fiction? If you are thinking of bestsellers, some or most of the time, their quality stays limited to the success of their sales records. Then, some readers may read only for the plot, and that is fine if that is what they want.
On the other hand, quite a number of readers want more than titillation and plot twists. They want fiction that comes close to being perfect. They want fiction with a certain profound literary quality. Most of the time, this quality is achieved through epiphany or the revelation that shows up at the end of a story. Epiphany is what raises some stories above others by giving them a depth and lyricism reminiscent of poetry. This happens when a character, especially the main character, experiences a realization or a sudden understanding, usually in a private and subjective way.
Epiphany is a term that takes its roots from religion, as it refers to the moment when the magi met the Christ child. This moment is interpreted as the celebration of divine presence in the creation. An allusion to this in the scriptures is the idea of light. “The light shall shine upon thy ways” [Job 22:28]. This mention of light can be found not only in the Bible but also in the texts of other religions. When you apply epiphany to fiction, you may say that epiphany is recognizing the truth or any one truth in a story with a sudden light-bulb-over-the-head, 'ah-ha!' effect as seen in cartoons.
Although most great literature employed epiphany earlier, James Joyce was the first author to define it as: when a piece reveals "its soul, its whatness leaps to us from the vestment of its appearance. The soul of the commonest object, the structure of which is so adjusted, seems to us radiant. The object achieves its epiphany." Joyce used epiphany as a literary device in his short stories in the Dubliners by making his characters to suddenly discover a truth about themselves or their social conditions and then change their views and actions.
Epiphany usually belongs with the protagonist, but other characters in a story may experience it, too. Epiphany’s success is in the direct reversal of what the character knew earlier. In Shakespeare’s King Lear, the king not only discovers the truth about the characters of his daughters, but also, he recognizes his own foolishness.
Epiphany usually happens in three steps. First step is when you acquaint your readers with the protagonist before the epiphany. Second step is when an event, a scene, an image, or other characters act as catalysts to challenge the protagonist’s old way of thinking. The last step is when the protagonist recognizes something he had not understood before, and therefore, he undergoes a change. This moment of sudden recognition or understanding is the epiphany in the story, but an epiphany is not a simple insight by the character. Epiphany is a powerful device because of its emotional transcendental moment when its intensity becomes almost poetic.
Epiphanies are terrific plot devices to alter the course of a story. They also deepen the characters to provide an intimacy of them for the readers. An epiphany positions the protagonist in a crossroad and forces him to make a decision to change. As Star Trek readers can recall, there was even an Epiphany volume in the Vulcan’s Soul books. In fact, most of the earlier Star Trek episodes I can remember ended with some kind of an epiphany.
In a novel, there can be several epiphanies that act as key points to forward the motion. In a book I read last year, Down River by John Hart, the main character returns to the town he grew up to experience insight after insight until he arrives at the larger truth about his own behavior and of those around him.
Great poems may end with an epiphany, also. In his poem Follower, Seamus Heaney talks about how his father used the horse-plough and how he trudged after him when a child. Then, he finishes the poem with "But today / It is my father who keeps stumbling / Behind me, and will not go away."
If you are the kind of writer who gets to know the characters as the writing progresses and constructs the story accordingly, planning the epiphany from the beginning may not be possible. In that case, you’ll probably reach that moment of revelation together with your character. Then, the best way to pinpoint the moment of epiphany is after you have written the story. Look for that moment of revelation for your main character. If you find it, you have a solid story; if it is not there, chances are you were too easy on your character and did not provide him with enough roadblocks and problems to overcome.
Not all endings may result in a change of action, however. Some writers may purposely end their stories in ambiguity after that moment of sudden discovery. Although this is a writer’s choice, if not handled with expertise, it may leave the readers with an empty feeling and a "So what?" question.
Writing the epiphany is like writing a universal truth. If you write it using words with abstract meanings as if talking big, your fiction will come out dull and preachy. If you write, however, on something specific or particular and the truth is grasped in an ordinary moment, that truth will be universal. In other words, your pearls of wisdom should be presented through your story and the characters’ actions, but not through a fancy sermon or a melodramatic moment.
 Wishing you all a wonderful Valentine's Day!
. Until next time… |
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Thank you for reading our newsletters and for supplying the editors with feedback. Now, let's take a look at a tip.
This Issue’s Tip: From Peter Clark's Writing Tools
 In choosing verbs, although the standard advice is to always use active verbs, passive verbs (and passive voice) may show a victim better; however, always choose active verbs to show a strong person or an important narrative section.
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flex
Thank you for another thoughtful newsletter, Joy. It was a good refresher to look at the skeleton of construction and brush up on general terms. I liked the Hemingway quote about structure, and hope I can remember to keep it in mind.
Thanks, Felix. 
I find Hemingway's quotes on writing to be an education in itself. 
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Jaye P. Marshall 
Joy -
This is a terrific edition of the NL. The clarification of terms was most informative - and helpful to writers and reviewers alike. Great job!
Thank you, Jaye.
I am sure I left out a few terms, but I'll get to them as we go along.
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Drama: February 11, 2009 Issue [#2863]
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