55th Trial: Reading parts of my novel to people who do not typically like that style of literature to begin with. It does not tell me if in fact my writing actually doesn’t make sense, or if it does, and that person just has no tolerance for that style of prose. Thankfully, I am understanding the importance of finding the right people to read my novel, and how much I can learn from their perspectives.
Weekly Hours Spent Writing or in the Pursuit of Plot: 4-6hr/wk
Weekly Choice of Tea: Irish Breakfast Tea
Biggest Success: Becoming a student again. It is far easier to admit the need to tighten the skill set of a writer than to lounge on a throne of chipped paint and consider yourself a writer rich in prose.
Welcome back! Whether I am saying that to you, or to myself, I say it with arms flung wide to my sides and deeply from my diaphragm. I read my last post, which was a year ago, and I say yet again, welcome back. While my posts will continue to be far and few in between, I cannot neglect documenting my writing process any more. This is after all, a faithful journal of the trails and errors of a first-time novelist. After I have published my novel, I intent to bind all these together and read the contrasting ideas and emotions that have pasted over the many years.
And it has taken years for me to write what I have written, and sometimes one chapter takes a whole 6 months. I do not say that apologetically, as I have a business to run, a non profit to manage, and the impulse of adventure at my fingertips. But aside from all the time, travel, and hustle, I have managed to re-focus, and pick up the pencil once again.
At the beginning of 2019 I began Jen Sincero’s program of working towards one goal of my choice. Mine was to “Secure a Publishing Deal” by the end of the year, and it is a goal that I am working towards. But I knew I would need help. I cannot faithfully pick up writing and ignore the diversions that make me set it down again.
And so I began Margaret Atwood’s online Masterclass on fiction writing. I bought 4 self help books for the writer: Edith Wharton’s “The Writing of Fiction”, Margaret Atwood’s “On Writers and Writing”, E.M. Forster’s “Aspects of the Novel”, and Stephen King’s “On Writing”. So far, I am learning a great deal, and feel much more of a connection to the world of writing and to that part of me that is a writer. Atwood says that every artist has that element of duplicity – the person brushing their teeth is not the same person that writes “Anna Karenina”. As I go about my day, handing money to the cashiers, getting in and out of my car, and even as I take Boo out for a walk, I now know that being a writer is within me always, and that in itself its that warm, fuzzy, feeling of community that is making me create a rhythm and routine. As if me and the other me will clink glasses later, salute to the day, and change roles naturally.
As I read from other writers, I wish to share their words of wisdom here. They are nuggets of pure gold that I do not want to wash away. Some are words that are encouraging, some are subtle explanations that blow my mind, while others are brilliant analogies meant to soften the edges of the matrix of novel writing. Or of being a writer. Because both are trials in their own rights, and both need to be navigated through as much as they are cultivated.
Edith Wharton’s book “The Writing of Fiction” is the subject matter I intend to share with you, with the sincere hope that you will read the entirety of it for yourself. Her perspective on writing is absolutely illuminating, as her taste and study of literature is the North Star.
These are the golden highlights; the mineral within the mountains. Enjoy all the words that have spoken so much to me!
- “[failure]…is the cause of some painful struggles and arid dissatisfactions; and the only remedy is resolutely to abandon the larger for the smaller field, to narrow one’s vision to one’s pencil, and do the small thing closely and deeply rather than the big thing loosely and superficially.” Nailed it.
- “The great continental novelists are all the avowed debtors of their English predecessors; they took the english novel of manners in its amplitude, its merriment and pathos, and in their hands ‘the thing became a trumpet’.” Something More British, please.
- “…dailogue, that precious adjunct, should never be more than an adjunct, and one to be used as skillfully and sparingly as the drop of condiment which flavours a whole dish.” Best advice EVER!
- “It is the unnecessary characters who do the crowding, who confuse the reader by uselessly dispersing his attention; but even the number of subordinate yet necessary characters may be greatly reduced by making the principal figures so typical that they adumbrate most of the others.” This, I feel, also applies to changing POV too much.
- “The impression produced by a landscape, a street or a house should always, to the novelist, be an event in the history of a soul, and the use of the ‘descriptive passage,’ and its style, shoulde be determined by the fact that it must depict only what the intelligence concerned would have noticed…” How easy it is to share my impressions with the reader, instead of respecting the mind we were just in.
- “It is obvious that a mediocre book is always too long, and that a great one usually seems too short.”
- “The question of length of a novel naturally leads to the considering of its end; but of this there is little to be said that has not already been implied by the way, since no conclusion can be right which is not latent in the first page. About no part of a novel should there be a clearer sense of inevitability than about its end; any hesitation, any failure to gather up all the threads, shows that the author has not let his subject mature in his mind. A novelist who does not know when his story is finished, but goes on stringing episode to episode after it is over, not only weakens the effect of the conclusion, but robs of significance all that has gone before.” She goes on in length regarding the proportion of the novel, and how the great writers of fiction knows that space is required for any argument worthwhile, and that they follow a “prescribed orbit”.
- “The writer must have a range wide enough to include, within the march of unalterable law, all the inconsequences of human desire, ambition, cruelty, weakness and sublimity. He must, above all, bear in mind at each step that his business is not to ask what the situation would be likely to make of his characters, but what his characters, being what they are, would make of the situation.”