How to Write an Award-Winning Novel starring… The Pulitzer Prize for Fiction
In some ways, it’s better to write an award-winning novel than to be a best-selling author. You might make more money with a best-seller, but in a few years your book could be forgotten, lost in the ash heap of other replaced best-sellers. On the other hand, if you win an award like the Pulitzer Prize, your book will be on that list forever. Even if your Pulitzer Prize winning novel isn’t read much after a few decades, the title will still be on the list. As long as there are literary critics, there will be a Pulitzer, and as long as there’s a Pulitzer, your book title and name will be on that list.
Reading a Pulitzer Prize winning novel isn’t always easy. In 7th grade I was forced to read The Yearling by Marjorie Rawlings. Yeesh! Does anybody read The Yearling anymore? Back then, I disliked it, and I haven’t gone back to see if I was wrong to dislike it. In 9th grade we were forced to read To Kill a Mockingbird, but at least nobody hated it. If kids hated it, they kept it to themselves. Even then, students knew it was wrong to hate that book.
As an adult, I read The Killer Angels by Michael Shaara because I went through a Civil War phase (without growing a long beard and dressing up in old musty uniforms). I read The Shipping News because everybody else in my writers group had read it (but I don’t remember a thing about it). I recently read The Road by Cormac McCarthy and The Brief Wondrous Life of Oscar Wao by Junot Diaz.
Writing a novel that’s considered for a Pulitzer Prize isn’t easy either. An author usually has to do more than just tell the story. An author has to use literary devices that catch readers’ and judges’ attention. If devices like symbolism and figurative language aren’t enough, authors then have to throw in some literary gimmicks too. A gimmick is a device that’s easy to do but doesn’t really add anything to the story.
For example, some Pulitzer Prize winning novels (The Road and The Brief Wondrous Life of Oscar Wao) don’t use quotation marks for dialogue. Maybe leaving out quotation marks makes dialogue more meaningful than dialogue with quotation marks, but I’m not sure. I’ve always used quotation marks with dialogue. That’s how I was taught, but I’ve never won a Pulitzer Prize.
The Road also used nameless characters like “the man” and “the boy” (I probably shouldn’t have put them in quotation marks since the book doesn’t use them at all). Plus, there was a double space between every paragraph, even the one sentence dialogue paragraphs that didn’t have any quotation marks. I don’t know if The Road would have won a Pulitzer if the characters had had names, or if the spaces between paragraphs were normal, or if the author had used quotation marks. It still probably would have been a good book.
The Brief Wondrous Life of Oscar Wao, along with no quotation marks, used several other literary gimmicks. The novel had really long sentences with lots of Spanish and Dominican slang thrown in too. The story was told out of order from several different characters’ points-of-view. Plus, there were lots of nerd culture references. Even though I’m a fan of nerd culture references, I thought there were way too many nerd culture references in this book. Even nerd writers for The Big Bang Theory probably think there were too many nerd culture references in TBWLOOW. I’m not saying you need to use nerd culture references to win a Pulitzer. You need to pick a topic and drown your novel in references, like Donna Tartt did with the topic of art in The Goldfinch.
But if you want to emulate a Pulitzer Prize winner for fiction that uses a ton of literary gimmicks, try A Visit from the Goon Squad by Jennifer Egan.
A Visit from the Goon Squad uses six literary gimmicks (that I noticed):
- Telling the story out of order.
- Switching points of view (3rdto 1st to 3rd…)
- Switching tenses in various segments (past to present to past…)
- a chapter of only power point/ flow charts (don’t use an e-reader for this book)
- lots of stream-of-consciousness
- And the worst gimmick ever… 2ndperson present tense! I call it the worst gimmick ever because I tried using it in a college writing class, got yelled at by my writing instructor for using it, and then two months later Bright Lights, Big City became a bestseller. Now I’m biased against 2nd person present tense.
At any rate, six literary gimmicks is a lot for one book. There were so many literary gimmicks, I expected the author to resort to the 1st person present tense narration death scene. I was wrong. Instead, she used the 2nd person present tense narration death scene. I hate being wrong.
Having so many literary gimmicks in one novel makes it look (to me) like the author is trying too hard. My writing instructor might have declared that using all these gimmicks took away from any merits A Visit from the Goon Squad had as a story. But he probably would have shut up once he realized the novel won a Pulitzer Prize for Fiction.
What do you think? Is using so many gimmicks good story-telling, or is it trying too hard? What other literary gimmicks have you noticed in award-winning novels? How many literary gimmicks should an author be limited to? What literary gimmicks do you dislike the most? If you were limited to one literary gimmick, which one would it be? If you had a choice, would you rather write a bestselling selling novel or a major award winning novel?
Using profanity in a book title is almost as bad as 2nd person present-tense, but that doesn’t apply to me because…