Posts Tagged creative writing MFA

The writer’s persona in the narrative, MFA courses and Englishness – interview at Rain Taxi

How much should a writer’s personality show in a book? Some authors keep themselves out of the narrative voice, even in a personal book such as a memoir. Others colour every page with their sensibilities and personality, even if they’re writing fiction. This is just one of the questions I’m discussing today in the literary magazine Rain Taxi.

You might recognise my interviewer – Garry Craig Powell, who has been a guest on The Undercover Soundtrack (he put Phil Collins songs to unforgettable and cheeky use). Garry has also taught creative writing at university level, so that’s another discussion we have – are these courses useful, necessary, a hindrance, something else? What about journalism – when is that a good start for a fiction author?

And then there’s Englishness. What is that? Well, it could be a quality of restraint – when saying less means more. It might also be a sense of Elysian yearning for an emblematically romantic world, including the tradition of stories about remarkable houses. We’re trying to thrash it out. Do come over, and bring tea.

Advertisements

, , , , , , , , , , , , , , , , , , , , ,

9 Comments

Self-editing masterclass snapshots – how much will you write to create your book?

guardLast week I was back at The Guardian, teaching my course on advanced self-editing for fiction writers. My students kept me on my toes and I thought I’d explore their most interesting questions here. There are quite a few of them, and the weather is too darn hot, so instead of giving you a giant reading task I’ll be posting them in short bites over the next couple of weeks.

You’ll write a lot of material that is not intended for publication

ideas book crop

One student who had taken a creative writing MA was bemused when her tutor set her the task of writing a scene from a different character’s point of view. This wasn’t intended to appear in the book; it was intended to encourage her to explore ramifications she hadn’t thought of. She said she found it a surprising idea, to create something that was never intended for publication.

We all have material we write that never reaches an audience. Sometimes this might be book ideas that don’t work out, or apprenticeship novels that are best filed in the ‘forget it’ drawer.

But those aside, a lot of our written output won’t end up between covers. I hadn’t thought about this until my student talked about this exercise, then I realised the amount of wordage we might write in order to get to the text.

In my own case this might be:

  • musings on the meaning of the central idea, to hone the themes and discover the story, maybe with an Undercover Soundtrack
  • ditto about characters, individual plot problems
  • outlines and refinements thereof, or scrawlings of events on cards
  • beat sheets for afterwards to aid revision
  • tryouts of story events from other points of view, like the exercise my student was set.

(Here’s my writing process in pictures.)

That looks like a colossal amount of wastage. If I look in the folder for Ever Rest, I have 68 exploratory documents, and some of them are 20-30 pages.

And then there’s the material that gets cut from the manuscript – even more pages written that the reader never sees. The novel that emerges is a super-concentrated distillate.

I hadn’t ever questioned this, but I realise that for some writers it seems odd. They often think that, except for a bit of polishing, every word they write is intended for the book.

nyn1 2013 ebook j halfresThere’s more about exercises to build and refine your story in Nail Your Novel: Why Writers Abandon Books & How You Can Draft, Fix and Finish With Confidence. More posts here about insights from my Guardian masterclasses.

Next time: ‘My drafts are too brief’

So let’s continue the discussion. How much extra material do you write? Have you ever added it up?

 

, , , , , , , , , , ,

27 Comments