Posts Tagged writing life
Some of you know that I began my writing career incognito, as a ghost-writer. It gave me certain habits and approaches that I still use to this day, and I’m sure they were a head start for productive writing processes. Today I’m talking about those habits at Jo Malby’s blog. (And as I’ve had two guest posts this week, I hope you’ll forgive me for taking the rest of the weekend off. There is bank holidaying to do, as well as a spot of writing.)
And if you’re wondering about ghost-writing yourself, let me clear my throat discreetly and point you to this…
I recently watched the BBC’s adaptation of John le Carré’s The Night Manager, and of course went straight to the novel afterwards. I thoroughly enjoyed the TV adaptation, but I’m loving the novel more.
You might think that’s an obvious thing for a writer to say. But I’d like to think about why.
Let’s put aside certain practicalities. Obviously the book had to be reshaped to translate it to TV, and updated for 2016 (technology, current world events, making a key character female).
That’s not what I want to talk about; I’m interested here in the medium of delivery. The watching senses compared with the reading ones. Why do I find reading the novel is more special than watching the show?
Books are interior
A key difference is the organisation of Jonathan Pine’s back story. In the TV version this is streamlined into simple chronological order, but the novel shuffles the material to us in digressions. A character makes a remark and Pine is taken back to an earlier event. At first this seems quite digressive, but gradually you’re bedded more deeply into Pine’s buried layers, his stifled memories and his slow awakening into a new man.
This interority is something that’s difficult for TV or film to achieve, although Krzysztof Kieślowski is a notable example of a writer-director who does. But usually, watching makes us outsiders. So the BBC’s Night Manager is an adventure story – and a gripping one. The novel is that too, but it’s also more secret, troubled and private.
Characters and reality
Somehow, I’m finding the characters on the page are more tangible than when they are played by actors. Le Carré’s descriptions seem more potent than seeing an actor physically embody a person. In a film, a character comes to you complete – with hands, voice, expression, stance, clothes. In prose, a character usually appears in fragments. Those fragments are the magic.
For instance, describing Richard Roper’s charm. An actor could play charm, but a writer can pinpoint the essence of that charm – and make us notice something about how charm works:
He let you know that you could tell him anything, and he would still be smiling at the end of it.’
The author is not a camera giving head-to-toe details; he is a judging, communicating intelligence who can show us what it’s like to be in a person’s presence, at a given moment. It gives you experience as well as observation. Describing Roper’s girlfriend Jed:
Her wit and language have a hypnotic draw. There is something irresistibly funny to everyone, including herself, about the convent-educated English voice enunciating the vocabulary of a navvy. “Darling, do we actually give a fart about the Donahues?” ’
Could a camera or an actor ever express that, and so precisely? And this, when Jonathan Pine is increasingly troubled by the siren Jed:
He watched her in fragments forced upon him. A chance view of her entire upper body in her bedroom mirror while she was changing…’
How would a camera say ‘forced upon him’?
I find this to be a wonderful paradox. A good writer can make a character more alive in your mind than a flesh-and-blood actor can. An actor seems to give just physicality. No matter how closely a camera observes their face, it’s happening at a distance. But a writer is inside your intellect and your feelings. With a well-turned line they can they give you the experience of being with a person – or indeed of being them. You’re passing a door, arrested by a glimpse of a girl undressing.
The cleverness of a good author makes you feel a bit ennobled, better with words yourself. More intelligent, perceptive. Words are far, far more fun than watching.
Take a bad toupee. (Go on, you know you want to.) Le Carré describes it as ‘like a black bear’s paw’. Isn’t it far more fun to read that description than to see a bad toupee in a picture? In a million years, would you have thought of that line? When you read, you share the mind of someone who does.
Women with chiselled faces they never had when they were young, and tucked stomachs and tucked bottoms … but no surgery on earth could spare them the manacled slowness of old age as they lowered themselves into the pool…’
A good writer knows how to go ‘straight to the switchboard’.
Stop – isn’t that an excellent line? It’s not mine, it’s le Carré. A phrase used by Roper’s security guard when describing a technique of interrogation.
Interrogation. That’s a difference I should also mention: how you contribute so much of a book’s experience from your own grey matter. The pictures, places, sounds, significance. For Franz Kafka, books were ‘the axe for the frozen sea within us’.
Your own pace
And here’s another difference I like. You take a book at your own speed. Dawdle as long as you like over a page, a paragraph, a phrase. In a movie you obey the director’s clock, or the editor’s. In a book, the author sets the pace, of course, but you can adjust it. Linger over a passage you like. Skim the parts you don’t.
I hadn’t considered how important that was until Husband Dave and I read the same book simultaneously. We found we had two copies of William Boyd’s Ordinary Thunderstorms so we did them in tandem, like a real-time book club. It was fun. We could say ‘I didn’t like the bit where…’ or ‘I’m hoping the character won’t do such-and-such’. I was aware, though, that I was reading to a schedule, so I didn’t let myself linger or dawdle as usual – and I felt rushed.
Reading a book you enjoy isn’t, actually, a hop from this word to this then this, like watching subtitles on a movie or the lyrics prompt on karaoke. It’s not a linear trot through the page from top to bottom, in order. If you want, it can be more like snakes and ladders. You can check a fact or a character name. Wander back to enjoy a favourite fragment again. You can take a book in your own time, your personal journey.
Ultimately, a book plays with your mind more, yet belongs to you more as well. Perhaps that’s it.
Tell me your thoughts.
Most of us here probably have a shoal of books about writing craft. Here’s just one of my shelves.
But which was the first writing book you ever read?
For me, it was The Craft of Novel-Writing by Dianne Doubtfire. It was a gift from Husband Dave when we first met in 1992. It’s a tiny volume; just 87 pages including the index at the end and throat-clearing at the start. But it has everything you need – theme, viewpoint, planning, setting, characterisation, style, revision.
I flick through it now. At random, I can see sensible advice to use ‘he said’ instead of ‘she gushed’ or ‘he averred’. A section on writing description so the reader remains riveted, with examples from Iris Murdoch and Graham Greene. A paragraph about keeping a notebook beside the bed, including a torch. An explanation of style as ‘a quality as unique as your fingerprints’. A quote from Alfred Hitchcock that ‘drama is like real life with the dull bits cut out’. A section on first chapters, positioned nearly half-way through, because ‘it’s wise to consider … planning, scene and characterisation before you type ‘Chapter 1’.
Other books may cover all of these in more depth, but as a primer it will get you going with good habits. I’d recommend it still today.
To begin at the beginning…
I’d studied English literature at school and university. Yes, we considered theme, character, resonance, symmetries and counterpoints in character arcs and story structure. And historical and social context, an author’s place in the overall evolution in the artform. But I wanted more. I wanted to know why good was good. Reading Dianne Doubtfire was like meeting someone who thought and felt about books in the way I wanted to.
Studying literature can put it in on a pedestal as a thing to be revered. It can paralyse you with feelings that you could never, yourself, presume to write to a standard that’s even readable, let alone half-creditable.
Dianne Doubtfire’s succinct, wise book made writing seem possible.
Can you remember the first writing craft book you read? How did you come to read it? How did it affect you? Did it open possibilities? Did it make it all seem impossible? If you still have a copy, what do you think of it now?
Yesterday I spoke at the New Generation Publishing selfpub summit, and the discussions threw up some interesting paradoxes that writers encounter.
1 We must produce, but never rush.
Unless we’re writing only for the satisfaction of filling a document, we need an output mentality. We set schedules, aim to present work to critiquers, editors and readers, build a rack of titles for more market share and £££. But we must also learn our natural pace to give a book the proper time.
Last week Maya Goode took my post about the slow-burn writer and added some thoughts of her own, resolving to be swift with her blogging output, and leisurely about her fiction. (To an extent, this post will include a hopscotch through my archives. If you’ve recently arrived on this blog and these ideas strike a chord, these links are a junction box for further exploring.)
So what do established authors do? What’s a reasonable daily wordcount? You might as well ask a bunch of cats to form an orderly queue at the fridge door. Every writer measures a good day’s work by different standards and methods (helpful, huh?) . And if slow sales are panicking you to hurry the next book, here’s what some authors did to fight back, without compromising their standards.
2 We learn from others, but teach ourselves.
No matter how many courses you attend or manuals you ingest, your most effective learning is your own explorations. None of my real-life author cronies ever took a writing course. They taught themselves.
How did they do that? By reading with awareness.
Here I’m going to advance a theory. If there’s such a thing as a natural writer, it’s a person who is unusually sensitive to prose. For such people, a book isn’t just a story told on pages, it’s a transformation they’re observing on their own heart and mind. With every phrase, a clutch of neurones parses this question – what did that do? (Honestly, it doesn’t spoil the fun. It’s part of the pleasure. Quick question – how many of us here are slow readers?)
Anyway, our individual style comes from noticing the tricks of others and knitting them into our DNA.
You might say I’m doing myself out of a job here. Indeed, how dare I offer writing books, courses, seminars et al? Well, I can’t do the work for you, but I can help with insights from my own journey, feedback, awareness, methodology and (I hope) a friendly word of encouragement. To be honest, I’m first a writer, then a teacher.
BTW, there are ways to find writing help without paying a second mortgage.
3 We make our own rules but recognise when we’re wrong.
Much of the time, the writing process is an experiment. If we’re novice authors, we’re searching for our style, our voice, our signature. Even when we’re experienced, we still grapple with uncertainty – a stubborn plot, obscure characters. Each book goes through a formative stage with shaky bits, and feedback to do things differently. Sometimes that feedback is dead right; sometimes it’s way off beam. We need to assert our own vision – but also know when to listen.
Sometimes we’re misled by critiquers who didn’t understand what we were doing. Sometimes we need to ignore an editor’s suggestions, but find out where the real problems lie.
But sometimes the only option is to unplug and listen to our instinct.
(Pic by MC Escher)
That’s me paradoxed out. What would you add? And tell me if you’re a slow reader – and if so, what slows you down!
A conversation on Twitter about online writing groups made me remember I had this post, written nearly 4 years ago. I tweeted it and got so many messages about it I thought it might be worth an official rerun. So – if you’ve been with this blog since 2011 you might have a sense of deja vu. If not …. I hope this is useful.
I’ve had this email from Vanessa, which is a fairly common problem.
During the past 12 months, I rewrote my novel 8 times as part of a critique group, and now I’m wondering if I should just go back to my first draft and start over. My book is different now, in some ways better, in some ways worse. I’m not even sure I can work with it in its present, 8th incarnation. I’m feeling a bit discouraged and don’t know how to recapture the original freshness. I think there are some good changes in the revisions, but also a lot of bad direction. How will I sort through it?
Discounting the fact that some of the advice might be misguided, inept or even destructive, even the most accomplished critiquers will offer different approaches when they spot a problem. You get a lot of input and you don’t know which to ignore. You try to knit them into a coherent whole and then realise you’re lost. And the idea is worn to shreds.
A brainstorming draft
If you’re feeling like Vanessa is, you have to see this as is a brainstorming draft. It’s full of other people’s solutions – some good for your book and some a bad fit.
A learning draft
It is also a learning draft – in it you learned how to sketch a character, how to show instead of tell, how to introduce back story without clogging the pipes, how to pace. You could almost view some of it as exercises that have helped you to write better – but some of those exercises will not be pieces that need to be in this book.
Now you will undoubtedly be more practised and more aware. You need to take control of this brainstorming/apprenticeship draft and make a novel out of it again.
As a BTW: one thing you find as you grow as a writer is that other people’s solutions are rarely right for you. You have to pay close attention to the problem they have identified rather than what they tell you to do. If lots of people are saying something is wrong it probably is. But their solution is probably not right for you, even if they’re an accomplished writer.
Get back to your vision of your book
First of all, have you had a break from the novel? Here’s how you can tell. Do you view most of the manuscript as a problem? If you read it through right now would you be beating yourself up for what’s not going right?
Put it away so that you can read it without wanting to have a row with it.
When you’re ready, don’t read that latest version. Find the material from before the crit group, when it was just you and your idea. I always advise authors to keep their first draft because although there will be much to blush about, there will also be glorious tumbles of inspiration. What can vanish after multiple revisions is the raw inspiration and even if you didn’t express it well when you first wrote it down, the spirit of it is usually there.
Read through this and enjoy your original idea. Look out for the interesting edges that have been smoothed away and make a file of them.
Now to your manuscript
Then read the latest version. Make a copy so you can mess about with it. Paste into a new file the sections that your gut wants to keep and that you feel are an improvement on what went before. Clip away those you feel don’t belong – but don’t junk them because they may be useful later or for another book. Don’t try to rework anything yet – just examine what’s already there.
Any sections you don’t mind about either way should stay in the original file. You now have 4 files:
- 1 initial gems with rough edges
- 2 gems from the reworked version
- 3 don’t-minds
- 4 rejects.
File 2 is your new essentials for this story. Now work out where the gaps are and how you’re going to join the dots. Yes it’s very much slimmer than the draft file, but it’s what you like about the book, in concentrate. Look at file 1 and consider how to add its contents in. Look at your ‘don’t mind’ file and figure out if you could work up any of the elements to fit with the new vision. From this you’ll build a new book that you do like from a draft you’re ratty about.
If you’re going to play with the story order a lot, you might find it useful to play the cards game from Nail Your Novel. If you’re not going to reorder you don’t have to worry about this.
Feedback is essential, of course, but you can get lost. This especially happens if you’re feeling your way, as first-time novelists are. While you have been writing with group feedback you have been putting the controls as much in their hands as your own. Now you’ve grown up a little, you have to close the doors, get to know the novel again and plan how you’re going to do justice to it.
Have you had experience revising with critique groups? And what would you tell Vanessa? Share in the comments
Thanks for the pic Hugo 90 on flickr
More about handling critiques and drastic edits in Nail Your Novel: Why Writers Abandon Books and how you can Draft, Fix and Finish With Confidence