Advice on writing can be irritatingly contradictory. As if being consistently ignored, being paid below the minimum wage, and trying to train your partner to be quiet when you're trying to work wasn't punishment enough, writers also have to contend with a welter of opposing opinions on the web. You try browsing the internet for support and advice! You'll find yourself bombarded with ridiculous suggestions ranging from "make sure your work has commercial potential", to "make sure you disable your internet connection so your writing sessions can be more productive".
Well, luckily for you, I have read everything the internet has to offer the writer, and I have condensed it down into two points of advice, with two sub-sets of advice on editing underneath. It is yours, to use, for nothing.
1. Keep working. When you feel demoralised by rejection, by the feeling that you are writing into a void, that nobody cares about what you do, that nobody will ever be interested in your work, keep writing.
2. Be your own horse-whip. Every writer needs to learn to look at their own work with a critical eye; not to say that we disparage all of our own efforts, but that we learn to edit objectively our own work. We mercilessly excise that which does not belong, and we don't allow ourselves to get away with sub-standard work.
The importance of editing, for the writer, really can't be overestimated. More than half of the work of writing lays in the rewriting and editing. A writer doesn't only write: she rewrites, she edits, she corrects; she gets pernickity about sentence construction, about making subject and object agree, the consistent use of tense, the considered usage of active or passive verbs; she doesn't let herself run riot with the overuse of adverbs, or words repeated too closely together; she varies the way sentences start, the lengths that they go to, and the way they are punctuated.
Most of all, the skill of editing can come in useful when writing to word limits. Short story competitions and first chapter competitions are important for writers. Chances to get published are rare, and it can be hard to attract the attentions of an agent or publisher when you're not yet out of the starting blocks. Reputable competitions can be a worthwhile avenue for writers to pursue, as they give us chance to get our work recognition.
Many come with a word limit, and with good reason: editors and judges don't have time to read through thousands of words, from thousands of entrants. This fact can pose a dilemma for the wordier among you. When your work naturally runs lengthy, how are you to expunge all those words to get your work within the competition's parameters? Thankfully, I have a couple of suggestions for you wrestling with this very difficulty.
suggestion one: you do the math. If your story is 4822 words long, and the word limit 2,000, simply select the last 2822 words of your story, and hit 'delete'. Hey presto! Within less than one second, you've ensured that your work meets the criteria for the competition. Don't worry too much that the structure is now strangely-lopsided, or that the ending is missing. The sense of intrigue that the judge feels from only reading half the story will compel him to want to read more. Especially if it suddenly cuts off in the middle of a sentence.
suggestion two: remove all of the prepositions eh, who likes a preposition anyway? All they do is go around clogging up your sentences, throwing their weight around and making everything 'too obvious'. This is slightly more labour intensive than your first option, as it means going through every single sentence and removing the words one by one. The results will leave you with a distinct, and rare, 'voice', likely to leave your entry standing head and shoulders above those from the other contestants. If Leo Tolstoy had used this technique for War and Peace, the opening would read "Well, Prince, Genoa, Lucca are family estates Buonapartes. I warn you, you don't tell me means war, still try defend infamie, horrors perpetrated Antichrist- I believe he is Antichrist- I will have nothing more you, you no longer my friend, longer my 'faithful slave,' you call yourself!" The book would have been much shorter and less heavy to carry around; people would take it on holiday and read it on the bus. It would have increased 'readability' and sold a lot more copies in the long run.
I hope you find these advices useful. They're the result of many hard hours' labour and research on my part. Followed carefully, they should stand you in good stead for many successful and happy years' writing!
You're welcome.
Currently reading
Ngugi wa Thiong'o A Grain of Wheat
Short story writer & novelist. K Blundell Trust award-winning Author, Saboteur Award winning editor (Remembering Oluwale), fiction editor at Strix Magazine. Director of the Northern Short Story Festival.
Showing posts with label writing advice. Show all posts
Showing posts with label writing advice. Show all posts
Sunday, 15 May 2011
Sunday, 2 May 2010
The Corner
Writing advice is there to be ignored. It's the baying of the overly-prescriptive to the uninformed. I don't like it, I don't agree with it, and I generally find that most of it is fit only to be ignored. To wit, the oft-given piece of advice that no writer should ever read fiction alongside writing fiction, lest the voice of the author they're reading should creep into their own work. It's impossible, it's untenable, and anybody who goes around telling people this sort of rubbish ought to have a quiet word with themselves.
Everybody knows the single most important thing any writer can do to keep honing his or her craft is to read. And I mean, read a lot. We can learn a great deal by osmosis: good structure, tight pacing, believable characterisation. Hell, you can even learn how to write books where a teenage vampire is torn between his love for his girlfriend, and his crushing desire to eat her, if you're that way inclined. And the second most important thing any writer can do to keep honing his or her craft is to write. A lot. Like, every day. So how can both be true? Either you write, or you read, according to this dictum: you don't do both at once. (God forbid).
On the contrary, I firmly believe that any writer who has developed a strong enough voice can read whatever they like, whenever they like, alongside writing. If you choose your books smartly, it's going to help your writing process. Take that, opinionated advice-givers!
At present, I'm working on a ridiculously complicated, and very large, project. Even before beginning, I had a notebook full of characters - and not a weedy little notebook either, I'm talking about the type that's got pouches and seperate sections of coloured and graphed paper, the type that's so big it won't even fit into a handbag - and sheets full of diagrams. This project is so complicated it wasn't enough to draw a simple linear storyline, or even two or three simple linear storylines. What was required was to draw several pictorial diagrams, including Venn diagrams, and spider diagrams, and all sorts of stuff that have left the back pages of my process book looking like something from a very creatively taught secondary school Maths class. The central conflict and deceit is based around three main characters, with two important characters on the periphery around them; and, because of where the novel takes place, there at least another dozen less important characters, without whom the novel could not exist.
It was a doozy to get started. I didn't know where to begin at first. Intimidated by the scale and complexity, I procrastinated rather by drawing several more diagrams than I needed, strictly speaking. This gave me comfort in thinking that I was doing something 'important'. It gave the illusion that I was working on the book, even though I wasn't really working on the book. Anyway, in the end, I ran out of differently coloured pens for drawing the graphs, and realised I could excuse myself no longer. It was time to get started, dammit, and start I must, somewhere or other.
Overwhelmed by the complexity of what lay before me, I stuttered over knowing how to tackle the project. To help me along, I took my inspiration from other works with very heavily populated, complex storylines. I noticed how the writers began somewhere, concentrating on small vignettes of story, little illuminating flashes of character and incident. The scale of the novel was not given away in the detail - the detail was what made the complexity manageable, and the story intriguing for the reader.
Of biggest help in this project has been The Corner (A Year in the life of an inner-city neighbourhood), by David Simon & Ed Burns. This is the book upon which the television series The Wire is based. Although the subject matter of it is very different from the subject matter in my project, it has a similar scale of complexity and inter-tangled storylines. Technically, it's not a work of fiction, thus negating everything I have said earlier on in this blog post, but it certainly reads like a novel. Most importantly, despite the scale of it, it is not intimidating for the reader. Thirty pages in, I was hooked. How do they do that? I'll tell you how: with vivid detail, interesting characters, and sympathy. As an aside, I can't advise highly enough that you watch The Wire, all the way from the beginning of Season One, all the way until the very end of Season Five, without missing any out. Do not dismiss this series as "a cop show". It is so much more than just a cop show. Witness:
Only by reading The Corner could I see how to get started on my own project. By noticing how Simon and Burns allow the bigger picture to emerge, slowly, from the smaller details, I was able to let go of my anxiety around writing something more complex than I would usually attempt. This has really helped me get started on my own work. Genuinely, I don't think I could have started it without this kind of 'help'. And that's why, (she said, extrapolating furiously), I'd recommend that others also find things that will help them with their current project. Reading is not only something to occupy your mind in the downtime. Its something that can fill you with inspiration, and knowledge about form and structure.
Currently reading:
The Wind-Up Bird Chronicle Haruki Murakami (Can't help myself, this is the fourth or fifth time now)
The Trial Franz Kafka
Arthur and the Women Kingsley Amis
One Flew Over the Cuckoo's Nest Ken Kesey
The Great Gatsby F. Scott Fitzgerald
Monday, 8 March 2010
FICTIONWATCH: Day 236
Reading Col Bury's post on writing time got me thinking about the extraordinary coalition of good circumstance one needs to write a novel. Seeing as nobody is ever going to come up to you randomly in the supermarket and go, "Hey, here's ten grand, why don't you take a year off to go and get that novel written", CURSE IT, you've gotta do the best you can in the circumstances you've got.
I've been writing my second novel since summer last year, and am now into my favourite part of the process, the rewriting and editing. Do not ask me why I like this part so much. I can only tell you that it somehow appeals to my inner pernickety.
Over the course of the past year, I've realised that being a hobbyist as regards writing is a hiding to nothing. You've got to be serious about it, and you've got to have an understanding and supportive partner (oh, such an understanding and supportive partner). So, with the knowledge gained from my extensive work on the Big Project over the last 9 months or so, here are my findings so far about what you need to write a book.
Time. It's going to weigh heavy on your hours, this writing a novel business. Bank on 1000 hours at least. WHERE ARE YOU GOING TO GET THEM? Maybe they could come out of your social life, or the time your employer is underpaying you to sell your soul to him, or the hours you'd normally spend sleeping. I can't decide this shit for you.
Discipline. To get in front of the laptop when you'd rather be watching Come Dine With Me.
Complete lack of interest in maintaining a social life. People will forget what you look like. People will begin to suspect that you hate them. Get used to it: you're a writer now.
Extremely nice, but long-suffering, boyfriend / girlfriend / wife / husband / partner. Get this: my LSB built me a desk (built me a desk) in the alcove of our living room, so that I'd have somewhere to work, and I spurned it in favour of sitting on the bed upstairs. I've now even spurned that in favour of the newly-spare room. My LSB is not allowed to listen to music, or talk to me, or approach me, while I am busy ignoring him in favour of a bunch of imaginary people. Readers, I do not know why he puts up with it. I can only say that I think he deserves to be canonised. Thanks, boyfriend.
A wordprocessor. Fairly self-explanatory, this.
Notebooks Regular readers of my blog will know that I am (a) a compulsive notebook hoarder and (b) that I'm not in favour of overly-prescriptive writing advice. But my opinion on (b), I think, is changing a bit. I'm coming to the opinion that authors skip researching, character work, and outlining, at their peril. If you don't have a good outline, or strong character sketches at the start of your book, you'll end up with a load of unreadable tosh that no amount of editing is going to put right. Just sayin'.
A kettle. Yeah, even if you don't drink tea or coffee.
I've been writing my second novel since summer last year, and am now into my favourite part of the process, the rewriting and editing. Do not ask me why I like this part so much. I can only tell you that it somehow appeals to my inner pernickety.
Over the course of the past year, I've realised that being a hobbyist as regards writing is a hiding to nothing. You've got to be serious about it, and you've got to have an understanding and supportive partner (oh, such an understanding and supportive partner). So, with the knowledge gained from my extensive work on the Big Project over the last 9 months or so, here are my findings so far about what you need to write a book.
Time. It's going to weigh heavy on your hours, this writing a novel business. Bank on 1000 hours at least. WHERE ARE YOU GOING TO GET THEM? Maybe they could come out of your social life, or the time your employer is underpaying you to sell your soul to him, or the hours you'd normally spend sleeping. I can't decide this shit for you.
Discipline. To get in front of the laptop when you'd rather be watching Come Dine With Me.
Complete lack of interest in maintaining a social life. People will forget what you look like. People will begin to suspect that you hate them. Get used to it: you're a writer now.
Extremely nice, but long-suffering, boyfriend / girlfriend / wife / husband / partner. Get this: my LSB built me a desk (built me a desk) in the alcove of our living room, so that I'd have somewhere to work, and I spurned it in favour of sitting on the bed upstairs. I've now even spurned that in favour of the newly-spare room. My LSB is not allowed to listen to music, or talk to me, or approach me, while I am busy ignoring him in favour of a bunch of imaginary people. Readers, I do not know why he puts up with it. I can only say that I think he deserves to be canonised. Thanks, boyfriend.
A wordprocessor. Fairly self-explanatory, this.
Notebooks Regular readers of my blog will know that I am (a) a compulsive notebook hoarder and (b) that I'm not in favour of overly-prescriptive writing advice. But my opinion on (b), I think, is changing a bit. I'm coming to the opinion that authors skip researching, character work, and outlining, at their peril. If you don't have a good outline, or strong character sketches at the start of your book, you'll end up with a load of unreadable tosh that no amount of editing is going to put right. Just sayin'.
A kettle. Yeah, even if you don't drink tea or coffee.
Saturday, 20 February 2010
Good writing advice
The internet is full of writing advice. Much of it is nonsensical, overly-opinionated, and overly-prescriptive bollocks, live, "always use active verbs" and "never begin a sentence with a gerund". So how about some writing advice from, you know, actual writers as opposed to some twat with a computer, an opinion, and an internet connection?
Thankyou, The Guardian, for bringing us Ten Rules for Writing Fiction, a collection of words of wisdom from people who actually write for a living.
Personal favourites:
"Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page." (Margaret Attwood)
"Finish the day's writing when you still want to continue." (Helen Dunmore)
"The way to write a book is to actually write a book. A pen is useful, typing is also good. Keep putting words on the page." (Anne Enright)
"Don't be one of those writers who sentence themselves to a lifetime of sucking up to Nabokov." (Geoff Dyer)
And, truest of all...
"Only bad writers think that their work is really good." (Anne Enright).
Thankyou, The Guardian, for bringing us Ten Rules for Writing Fiction, a collection of words of wisdom from people who actually write for a living.
Personal favourites:
"Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page." (Margaret Attwood)
"Finish the day's writing when you still want to continue." (Helen Dunmore)
"The way to write a book is to actually write a book. A pen is useful, typing is also good. Keep putting words on the page." (Anne Enright)
"Don't be one of those writers who sentence themselves to a lifetime of sucking up to Nabokov." (Geoff Dyer)
And, truest of all...
"Only bad writers think that their work is really good." (Anne Enright).
Monday, 14 December 2009
In New News (obtained from the Tonto Books blog), the new news is that the Tonto Short Stories anthology will be available in shops from May 2010. In between now and then, it will be available in e-book format (What's best? Amazon Kindle or Borders E-Reader? I'm still very much in the Technologically Backward Granddad Category: "Is that the same as a Tamagotchi?"). It's currently being sold into bookstores, which is good news for readers an' writers alike. The book's more widely available, and it gets picked up by more readers on the strength of the cover. Everyone's a winner.
In my own personal news, I've been working hard on my current big project. I've been pullin' the typewriter up close and personal when I get home from work of an evening, the result of which being that I'm a long way into it. The first draft should be finished by the New Year. (Am I jinxing myself with those very words? - no, I don't think I am).
Boyfriend commented recently, "You're very disciplined". [Also commented, "Do you really need more notebooks?" when I stocked up on travel-journal notebooks in the Paperchase / Borders closing down sale. I will always need more notebooks. Please, send notebooks. Always send notebooks]. "Of course," I answered, primly. "Do you know that Murakami wrote his first novel in the early hours of the morning after coming home from work every night?" Actually, if I'm honest, this was not my first answer. My first answer was, "No talking while I'm busy."
So, the Christmas chunk of time off will be spent with my head anti-socially buried in my laptop (but don't worry, I'll be wearing a seasonal party hat while I do it), knocking off the last 15,000 words before I get to the editing and rewriting part, which I'm am slightly embarrassed to admit, is my favourite part of the process. I'm embarrassingly nerdy about rewriting and editing. It's one of the great joys of my sheltered little life. Other people get drunk, take drugs, and indulge in high-octane, adrenaline junkie life-threatening extreme sports. Me... I rewrite.
In the course of writing this novel, I have so far drunk 137 cups of tea, lost one pair of fingerless gloves (where can they go in a 2-bedroom terraced house?!), used one notebook, worked about 300 hours, invented a whole fictional world of people, surreptitiously asked my friends about their day-jobs in the way of research, and given my boyfriend at least 52 dirty looks for trying to converse with me while I am working. I don't deserve him, really. (somebody is in line for a really smashing new pair of slippers when this is finished).
In my own personal news, I've been working hard on my current big project. I've been pullin' the typewriter up close and personal when I get home from work of an evening, the result of which being that I'm a long way into it. The first draft should be finished by the New Year. (Am I jinxing myself with those very words? - no, I don't think I am).
Boyfriend commented recently, "You're very disciplined". [Also commented, "Do you really need more notebooks?" when I stocked up on travel-journal notebooks in the Paperchase / Borders closing down sale. I will always need more notebooks. Please, send notebooks. Always send notebooks]. "Of course," I answered, primly. "Do you know that Murakami wrote his first novel in the early hours of the morning after coming home from work every night?" Actually, if I'm honest, this was not my first answer. My first answer was, "No talking while I'm busy."
So, the Christmas chunk of time off will be spent with my head anti-socially buried in my laptop (but don't worry, I'll be wearing a seasonal party hat while I do it), knocking off the last 15,000 words before I get to the editing and rewriting part, which I'm am slightly embarrassed to admit, is my favourite part of the process. I'm embarrassingly nerdy about rewriting and editing. It's one of the great joys of my sheltered little life. Other people get drunk, take drugs, and indulge in high-octane, adrenaline junkie life-threatening extreme sports. Me... I rewrite.
In the course of writing this novel, I have so far drunk 137 cups of tea, lost one pair of fingerless gloves (where can they go in a 2-bedroom terraced house?!), used one notebook, worked about 300 hours, invented a whole fictional world of people, surreptitiously asked my friends about their day-jobs in the way of research, and given my boyfriend at least 52 dirty looks for trying to converse with me while I am working. I don't deserve him, really. (somebody is in line for a really smashing new pair of slippers when this is finished).
Saturday, 21 November 2009
November: writing season
It's been over a month since the clocks went back, and I've been wearing my fingerless gloves all around the house ever since. This is no pretension on my part: it really is that cold in our house. Most evenings I creep up to the attic to get to work wearing two shirts, two vests, a thin jumper, and a wonky home-knit aran sweater that I made two years ago, and which is too embarrassing to wear outside the house. Putting the heating on is cheating. Apparently, if one wants to write a great novel, one has to suffer like a character in a Dostoevsky novel. That's Ricky's excuse for not putting the heating on, anyway: it's all the interests of supporting my work.
Dark nights can be something of a productivity slayer. Crawling into hibernation after long days at a day job is perilously easy. However, the slide into torpor is even more depressing than 16-hour long nights, rendering the lazy writer a regretful quivering heap by February, when the snowdrops start to emerge.
A winter night is well suited to writing. It's dark, it's cold, there are few distractions. What else are you going to do? It's not like you can have a barbeque, for God's sake. And so, every night after tea, I waddle upstairs in my seventeen layers to do a couple of hours' work.
This November I have mostly been: still embroiled in the very exciting Secret Project I'm working on. At this rate, I'll have the first draft finished by February. Interspersed with this, I've been working on some short stories. I've had some good ideas lately and they've all made their way into the fiction.
For anyone looking for places to submit work this month (be quick, there are short dates on these) here are a couple of competitions I've unearthed lately:
The Willesden Herald runs an International Short Story competition, leading to publication by Pretend Genius Press, who are an independent publisher who run on a non-profit basis. They have about 15 titles to their name, and currently also publish 'zines. They seem like a publishers' with a unique ethos, so go check 'em out.
This is a good comp for anyone who's a bit wordy in their short stories, as the word limit is 8,000 words. Best of luck to anyone who enters this one.... I'm off to don my gloves and get back to work!
Currently Reading
When To Walk Rebecca Gowers
Immigrants: Your Country Needs Them Phillipe LeGrain
Before She Met Me Julian Barnes
Dark nights can be something of a productivity slayer. Crawling into hibernation after long days at a day job is perilously easy. However, the slide into torpor is even more depressing than 16-hour long nights, rendering the lazy writer a regretful quivering heap by February, when the snowdrops start to emerge.
A winter night is well suited to writing. It's dark, it's cold, there are few distractions. What else are you going to do? It's not like you can have a barbeque, for God's sake. And so, every night after tea, I waddle upstairs in my seventeen layers to do a couple of hours' work.
This November I have mostly been: still embroiled in the very exciting Secret Project I'm working on. At this rate, I'll have the first draft finished by February. Interspersed with this, I've been working on some short stories. I've had some good ideas lately and they've all made their way into the fiction.
For anyone looking for places to submit work this month (be quick, there are short dates on these) here are a couple of competitions I've unearthed lately:
The Willesden Herald runs an International Short Story competition, leading to publication by Pretend Genius Press, who are an independent publisher who run on a non-profit basis. They have about 15 titles to their name, and currently also publish 'zines. They seem like a publishers' with a unique ethos, so go check 'em out.
This is a good comp for anyone who's a bit wordy in their short stories, as the word limit is 8,000 words. Best of luck to anyone who enters this one.... I'm off to don my gloves and get back to work!
Currently Reading
When To Walk Rebecca Gowers
Immigrants: Your Country Needs Them Phillipe LeGrain
Before She Met Me Julian Barnes
Wednesday, 28 October 2009
12.5 writing tips....
Found on ffffound.com this morning... words of encouragement for writers everywhere.
On the whole, I'm not a big fan of writing advice. A lot of it is a bit too prescriptive, but this... this is good.
[image originally from palavra aguda's blog].
Monday, 26 October 2009
30267 words and counting....
A week off from the day job, I though optimistically, would give me the time to write a good 10,000 words. Hell, maybe even 15,000. When your productivity rate after a hard day's work is generally around 1000, writing 10,000 words when you've taken the time off specifically just to do that, should be a snip, right...? Right?
It's at these times that the writing malaise always strikes. Isn't it always the way that when you've specifically set aside the time to write, there's nothing you feel less like doing. Give me an hour in a productive meeting at work, an hour in the supermarket, an hour shopping for shoes that fit properly (spit) .... and all I can think is, "I'd rather be behind my desk right now". Yet now here I am, with a whole week to spend behind my desk, and I'm procrastinating. (See entry on "Bradley's foolproof 10-step procrastination method" if you want to know how my time is being wasted).
In times of writing malaise and laziness, I try to inspire myself by reading. I don't hold with this rubbish about not reading fiction when you're writing fiction. If, like me, you're continually writing fiction (ha, except for today, of course) then your reading list would be a dry mix of The Encyclopedia Britannica and The God Delusion. That's the literary equivalent of existing on a diet of dry shreddies and punishment muesli. With maybe a bit of brown rice for variety every now and again.
If you hold with this quite frankly ridiculous notion that writers shouldn't read fiction (IDIOTS), your writing is accordingly also going to take on the same dry texture, until you're turning out 'comedies' that read like academic textbooks, or pacey crime novels that read like nutritional information. There are enough rubbish books as it is, and I can do without funny books that read like the phone book, thanks.
Accordingly, I try and match my reading with the tone of whatever I'm writing. Writing dark, read dark. Writing light, read light. It's a formula that can't go wrong. (Maybe). The current book is a farce / comedy, so here's what I've got on the old bedside table at the moment.
Currently Reading
Carry On, Jeeves P G Wodehouse
Persepolis, Marjane Sartrapi
Lucky Jim, Kingsley Amis
How I Paid For College, Marc Acito
How do you get yourselves going on the dry days?
It's at these times that the writing malaise always strikes. Isn't it always the way that when you've specifically set aside the time to write, there's nothing you feel less like doing. Give me an hour in a productive meeting at work, an hour in the supermarket, an hour shopping for shoes that fit properly (spit) .... and all I can think is, "I'd rather be behind my desk right now". Yet now here I am, with a whole week to spend behind my desk, and I'm procrastinating. (See entry on "Bradley's foolproof 10-step procrastination method" if you want to know how my time is being wasted).
In times of writing malaise and laziness, I try to inspire myself by reading. I don't hold with this rubbish about not reading fiction when you're writing fiction. If, like me, you're continually writing fiction (ha, except for today, of course) then your reading list would be a dry mix of The Encyclopedia Britannica and The God Delusion. That's the literary equivalent of existing on a diet of dry shreddies and punishment muesli. With maybe a bit of brown rice for variety every now and again.
If you hold with this quite frankly ridiculous notion that writers shouldn't read fiction (IDIOTS), your writing is accordingly also going to take on the same dry texture, until you're turning out 'comedies' that read like academic textbooks, or pacey crime novels that read like nutritional information. There are enough rubbish books as it is, and I can do without funny books that read like the phone book, thanks.
Accordingly, I try and match my reading with the tone of whatever I'm writing. Writing dark, read dark. Writing light, read light. It's a formula that can't go wrong. (Maybe). The current book is a farce / comedy, so here's what I've got on the old bedside table at the moment.
Currently Reading
Carry On, Jeeves P G Wodehouse
Persepolis, Marjane Sartrapi
Lucky Jim, Kingsley Amis
How I Paid For College, Marc Acito
How do you get yourselves going on the dry days?
Saturday, 17 October 2009
Editing the book...
Who'd be a writer, eh? After last week's good news about the Tonto Books competition, I have spent this week looking over my novel, with the aim of getting it into as publishable form as possible. (I've read somewhere that this is an important thing to do with unpublished novels).
I didn't know, until leafing through the Writers & Artist's yearbook last week (my favourite idle read of the moment... I have a copy of it on my bedside table, between my copy of What Ho, Jeeves! and Old School) that 60,000 - 70,000 words is generally considered the optimum length for a paperback novel. Publishers and agents, apparently, find novels of this length easier to market and sell.
I can't deny that I'd love to be the sort of established literary genius who's above the rules, and who can write a book as long or as short as she damn pleases; but I also can't deny that I never pick up big books myself. Take Jonathan Strange & Mr Norrell , for example. It's well written and interesting, but at about the stage where a regular size paperback would have finished, I found myself losing interest. It's not Susanna Clark's fault. It's not that her book's boring. It's that I've got one of those iPod attention spans that sees me flicking past songs if I don't like the first 10 seconds of the intros, and I'm no different with books.
Which conveniently brings me to the 'problem' of my book. It's way over 60,000 - 70,000 words, and would benefit hugely from editing. I don't know anyone who can do it for me, and so in the absence of that, I'm doing it myself: taking out all the unnecessary repetition, taking out all the irrelevant bits, making it shorter, sharper, snappier, faster, and more interesting. More... iPod.
I don't doubt that some of you are going to be seething in outrage at my comparing literature to MP3 players, but I'd love to hear other people's thoughts on this. Who else finds themselves writing or editing with an imaginary 'audience' reading their work over their shoulder? Can't be just me!
I didn't know, until leafing through the Writers & Artist's yearbook last week (my favourite idle read of the moment... I have a copy of it on my bedside table, between my copy of What Ho, Jeeves! and Old School) that 60,000 - 70,000 words is generally considered the optimum length for a paperback novel. Publishers and agents, apparently, find novels of this length easier to market and sell.
I can't deny that I'd love to be the sort of established literary genius who's above the rules, and who can write a book as long or as short as she damn pleases; but I also can't deny that I never pick up big books myself. Take Jonathan Strange & Mr Norrell , for example. It's well written and interesting, but at about the stage where a regular size paperback would have finished, I found myself losing interest. It's not Susanna Clark's fault. It's not that her book's boring. It's that I've got one of those iPod attention spans that sees me flicking past songs if I don't like the first 10 seconds of the intros, and I'm no different with books.
Which conveniently brings me to the 'problem' of my book. It's way over 60,000 - 70,000 words, and would benefit hugely from editing. I don't know anyone who can do it for me, and so in the absence of that, I'm doing it myself: taking out all the unnecessary repetition, taking out all the irrelevant bits, making it shorter, sharper, snappier, faster, and more interesting. More... iPod.
I don't doubt that some of you are going to be seething in outrage at my comparing literature to MP3 players, but I'd love to hear other people's thoughts on this. Who else finds themselves writing or editing with an imaginary 'audience' reading their work over their shoulder? Can't be just me!
Saturday, 10 October 2009
Writer's foibles
I ought to be working, and so... I bring you this blog entry, not on the theme of procrastination (which I believe has already been quite comprehensively covered both by myself and other bloggers), but on writer's foibles and obsessions.
As a breed, writers are generally accepted to be a neurotic, eccentric bunch. For one thing, a person has to be a bit screwy to want to spend hours of their time making things up. And for a second thing, the conditions that a writer needs to do his or her work - sitting in a room alone, involved with the problems of their characters, depicting and representing what is essentially a 'fantasy world' to others - only exacerbate matters.
Through idly reading through blogs on RedRoom (yes, I should have been working then, as well) and observing my own behaviour - as well as that of writing friends - I've compiled the following list of writer's obsessions.
1. Word counts. How long does it need to be, how many can I write today, how many have I written already, and - horror of horrors - how many might I need to edit out at the end? When so much of our work has an intangible quality, and is subject to - well, subjectivity - word counts give us something concrete, something functional we can hang on to. Never mind the plausibility of the plot, or the coherence of these characters. Word counts are something we can easily judge for ourselves - hell, the word-processor will count them for us - and we don't need objective opinions on. In times of lean inspiration, its the word count who casts his villainous shadow across our work.
2. Comparison with other authors. Am I too old or too young to write a masterpiece like Hard Times? What age was Kazuo Ishiguro when he wrote Remains of the Day? Why did X get his novel published with such relative ease, and what is wrong with me that I can't? Why do I spend so much time messing about on Facebook when I could be working on my novel? I bet Jane Austen never spent this much time commenting on other people's photos. (Only because they didn't have social networking in the 18th century).
3. Notebooks. A separate notebook for everything, and everything in its right notebook. A notebook for keeping track of submissions and competitions, a notebook for writing down true stories from work. A notebook for keeping track of ideas, and a notebook for cutting out funny stories from papers and magazines. A notebook for keeping track of errors and plot lines for the novel, and a notebook for writing to-do lists in. There is no excuse for writing down an overheard conversation in the character-work notebook. Everything must be in the correct notebook, otherwise everything descends into complete anarchy. Boyfriend keeps complaining that there are notebooks all over the house. Suggests that I could perhaps get a notebook to keep a track of where all my notebooks are.
4. Thinking too much. From reading blogs with keywords like "it won't write itself" to "nobody procrastinates like a writer", I've gathered that this is a common problem among us. We all spend hours thinking about what will happen in our books, or what our lives could be like as a 'successful' author (how we define success differs from person to person, of course; for some of us, success is being as commercially successful as Stephen King; for others, success is being as critically acclaimed as Muriel Spark; for others, success might be having a few friends read your work and genuinely enjoy it). From what I've heard, some writers spend hours caught up in these thoughts, and too little time writing. Not that I ever spend too much time thinking myself, with a heavy side-order of unproductivity, you understand. It's just what I've heard from other people.
I realise this is only a short list of four, and that there are probably other writer's quirks and obsessions that I've missed out. I'd be interested to hear other people's thoughts on the strange habits of the writer!
As a breed, writers are generally accepted to be a neurotic, eccentric bunch. For one thing, a person has to be a bit screwy to want to spend hours of their time making things up. And for a second thing, the conditions that a writer needs to do his or her work - sitting in a room alone, involved with the problems of their characters, depicting and representing what is essentially a 'fantasy world' to others - only exacerbate matters.
Through idly reading through blogs on RedRoom (yes, I should have been working then, as well) and observing my own behaviour - as well as that of writing friends - I've compiled the following list of writer's obsessions.
1. Word counts. How long does it need to be, how many can I write today, how many have I written already, and - horror of horrors - how many might I need to edit out at the end? When so much of our work has an intangible quality, and is subject to - well, subjectivity - word counts give us something concrete, something functional we can hang on to. Never mind the plausibility of the plot, or the coherence of these characters. Word counts are something we can easily judge for ourselves - hell, the word-processor will count them for us - and we don't need objective opinions on. In times of lean inspiration, its the word count who casts his villainous shadow across our work.
2. Comparison with other authors. Am I too old or too young to write a masterpiece like Hard Times? What age was Kazuo Ishiguro when he wrote Remains of the Day? Why did X get his novel published with such relative ease, and what is wrong with me that I can't? Why do I spend so much time messing about on Facebook when I could be working on my novel? I bet Jane Austen never spent this much time commenting on other people's photos. (Only because they didn't have social networking in the 18th century).
3. Notebooks. A separate notebook for everything, and everything in its right notebook. A notebook for keeping track of submissions and competitions, a notebook for writing down true stories from work. A notebook for keeping track of ideas, and a notebook for cutting out funny stories from papers and magazines. A notebook for keeping track of errors and plot lines for the novel, and a notebook for writing to-do lists in. There is no excuse for writing down an overheard conversation in the character-work notebook. Everything must be in the correct notebook, otherwise everything descends into complete anarchy. Boyfriend keeps complaining that there are notebooks all over the house. Suggests that I could perhaps get a notebook to keep a track of where all my notebooks are.
4. Thinking too much. From reading blogs with keywords like "it won't write itself" to "nobody procrastinates like a writer", I've gathered that this is a common problem among us. We all spend hours thinking about what will happen in our books, or what our lives could be like as a 'successful' author (how we define success differs from person to person, of course; for some of us, success is being as commercially successful as Stephen King; for others, success is being as critically acclaimed as Muriel Spark; for others, success might be having a few friends read your work and genuinely enjoy it). From what I've heard, some writers spend hours caught up in these thoughts, and too little time writing. Not that I ever spend too much time thinking myself, with a heavy side-order of unproductivity, you understand. It's just what I've heard from other people.
I realise this is only a short list of four, and that there are probably other writer's quirks and obsessions that I've missed out. I'd be interested to hear other people's thoughts on the strange habits of the writer!
Writing Space
I laugh when I read other writers saying, "Write wherever you are". A laudable aim. Who amongst us has never written on a busy train, whilst sitting under a tree, in a cafe, or even in the living room while others are watching the telly?
But the truth is - and I'm a bit embarrassed to admit it - I've become precious when it comes to writing space lately. My excellent boyfriend, who is handy with a couple of rawlplugs and a drill, built me a desk right under our living room window, so that I can write and look out over the allotments. Excellent, work, boyfriend. Now what can we do about getting me a bit of peace and quiet?
Our house is not a large one. We live in a terraced house, in a quiet street in a quiet area. The walls are thin, and one gets used to 'tuning out' the sounds of life that come from the adjoining houses: children playing, the sound of somebody else's television, a person who owns only one CD and listens to it repeatedly over and over again. (Why does it have to be Keane?) But try as I might, I can't tune out the sounds that come from within the house. It's these that break my concentration and leave me a quivering, twitching wreck.
I know it's the luxury of silence, and a dedicated writing space, that has made me this way. There was a time when I could write anywhere, even with my housemates howling and chattering over How Clean Is Your House? in the same room. I'm just not the same girl any more. I can't stand to be interrupted when I'm working, especially if it's to be asked a question; more so if it's a stupid question, and most questions seem to be fairly stupid. Whether its "How do you spell tomorrow?" or "Do you want anything from the shop?", an innocently asked question is liable to send me twitching and gnashing my teeth down into the kitchen, where I will stomp around noisily making a cup of tea until the offending question-asker has discreetly removed him or herself away to a safer location.
It got me thinking about what other writers need to write? Do you have the same obsessive need for quiet as do I, or can you write in just about any conditions? I'd love to know!
But the truth is - and I'm a bit embarrassed to admit it - I've become precious when it comes to writing space lately. My excellent boyfriend, who is handy with a couple of rawlplugs and a drill, built me a desk right under our living room window, so that I can write and look out over the allotments. Excellent, work, boyfriend. Now what can we do about getting me a bit of peace and quiet?
Our house is not a large one. We live in a terraced house, in a quiet street in a quiet area. The walls are thin, and one gets used to 'tuning out' the sounds of life that come from the adjoining houses: children playing, the sound of somebody else's television, a person who owns only one CD and listens to it repeatedly over and over again. (Why does it have to be Keane?) But try as I might, I can't tune out the sounds that come from within the house. It's these that break my concentration and leave me a quivering, twitching wreck.
I know it's the luxury of silence, and a dedicated writing space, that has made me this way. There was a time when I could write anywhere, even with my housemates howling and chattering over How Clean Is Your House? in the same room. I'm just not the same girl any more. I can't stand to be interrupted when I'm working, especially if it's to be asked a question; more so if it's a stupid question, and most questions seem to be fairly stupid. Whether its "How do you spell tomorrow?" or "Do you want anything from the shop?", an innocently asked question is liable to send me twitching and gnashing my teeth down into the kitchen, where I will stomp around noisily making a cup of tea until the offending question-asker has discreetly removed him or herself away to a safer location.
It got me thinking about what other writers need to write? Do you have the same obsessive need for quiet as do I, or can you write in just about any conditions? I'd love to know!
Bradley's foolproof 10-step procrastination method
Want to get some writing done? Frustrated at your current overly-productive rate of activity? Gurn no longer! I can help you, with my tried-and-tested, guaranteed foolproof low-yield ten-step procrastination method.
Following my advice, any newcomer to the writing game can easily fritter whole days away in the pursuit of less fulfilling activities that produce no writing output whatsoever (unless you count commenting on somebody else's Facebook status updates).
For the purposes of following the method, you need to be at your desk and ready to begin by 09.00. Follow the points step by step, and don't miss any out. It won't work otherwise. Ready? Let's get started!
1. It is still too early to start writing. There is too much else to do in and around and out of the house. Begin by writing a list. Spend no shorter than half an hour writing this list, and include absolutely everything on it, from the physical ("paint the outside of the house") to the metaphysical and / or spiritual ("What is the meaning of life?")
To improve of the efficacy of point 1 as a timewasting activity, you may wish to embark on some of the tasks named thereon. Ensure that you do not complete fully any of these tasks, as completing any sort of task could be considered productive, and is thereby contrary to the spirit of the ten-step procrastination method.
2. To engage brain and to warm up into the writing activity, open three tabs on your browser window: one to Facebook, another to web-based email, and a third to the talk-board or forum of your choice. Spend at least one hour providing ill-informed advice to strangers on the internet and commenting on your friends' status updates. Oh look, are those pictures of Tom's wedding? 256 pictures of people you hardly know! This is procrastination gold. By the time you have looked at them all, there will be more status updates, and more strangers seeking advice. You have already spent up to an hour and a half at your desk, and not a single minute of it spent in the task of writing. Keep up the good work!
3. Jeez, nearly lunchtime. It's time for a well-deserved break, to have a root through the fridge, and to watch a bit of Come Dine With Me off the Freeview Plus box. You can't write on an empty stomach, and in any case, Come Dine With Me counts as research on account of the human drama and the interaction of all those different characters. Also worth watching to get some ideas for lunch.
4. That's enough time-wasting. Seriously now, get back to work. Maybe it would be useful to spend a bit of time updating the old internet 'shop window'. Update blog, spend a bit of time browsing Red Room. (careful now. Overdo it and you might be in danger of doing something useful).
5. This computer is filthy. Clean screen, get desktop vacuum out, vac out keyboard and inside mouse. Carpet and coffee table also need vacuuming. May as well do those since have vacuum out. Look for other opportunities for housework. A clean environment is more conducive to productivity.
6. Still haven't got anything done. Can't fix mind to writing somehow. Seems like very hard work today. Maybe I could concentrate better if I did a bit of exercise?
7. Go for a walk or bike ride, or put on latest Girls Aloud album and dance around the living room. Close curtains if the neighbours are home.
8. If plan has been correctly followed, it will now be around 3 (possibly after) and partner's arrival home from work will be imminent. You have not yet written one single solitary word other than "lol" or "fail". These barely count as English. Allow feeling of destitution and disappointment to gather over you for a few minutes.
9. Time to knuckle down. Straight after this cup of tea.
10. Congratulations, you are a successful (?!) graduate of Bradley's foolproof ten-step procrastination method....
Following my advice, any newcomer to the writing game can easily fritter whole days away in the pursuit of less fulfilling activities that produce no writing output whatsoever (unless you count commenting on somebody else's Facebook status updates).
For the purposes of following the method, you need to be at your desk and ready to begin by 09.00. Follow the points step by step, and don't miss any out. It won't work otherwise. Ready? Let's get started!
1. It is still too early to start writing. There is too much else to do in and around and out of the house. Begin by writing a list. Spend no shorter than half an hour writing this list, and include absolutely everything on it, from the physical ("paint the outside of the house") to the metaphysical and / or spiritual ("What is the meaning of life?")
To improve of the efficacy of point 1 as a timewasting activity, you may wish to embark on some of the tasks named thereon. Ensure that you do not complete fully any of these tasks, as completing any sort of task could be considered productive, and is thereby contrary to the spirit of the ten-step procrastination method.
2. To engage brain and to warm up into the writing activity, open three tabs on your browser window: one to Facebook, another to web-based email, and a third to the talk-board or forum of your choice. Spend at least one hour providing ill-informed advice to strangers on the internet and commenting on your friends' status updates. Oh look, are those pictures of Tom's wedding? 256 pictures of people you hardly know! This is procrastination gold. By the time you have looked at them all, there will be more status updates, and more strangers seeking advice. You have already spent up to an hour and a half at your desk, and not a single minute of it spent in the task of writing. Keep up the good work!
3. Jeez, nearly lunchtime. It's time for a well-deserved break, to have a root through the fridge, and to watch a bit of Come Dine With Me off the Freeview Plus box. You can't write on an empty stomach, and in any case, Come Dine With Me counts as research on account of the human drama and the interaction of all those different characters. Also worth watching to get some ideas for lunch.
4. That's enough time-wasting. Seriously now, get back to work. Maybe it would be useful to spend a bit of time updating the old internet 'shop window'. Update blog, spend a bit of time browsing Red Room. (careful now. Overdo it and you might be in danger of doing something useful).
5. This computer is filthy. Clean screen, get desktop vacuum out, vac out keyboard and inside mouse. Carpet and coffee table also need vacuuming. May as well do those since have vacuum out. Look for other opportunities for housework. A clean environment is more conducive to productivity.
6. Still haven't got anything done. Can't fix mind to writing somehow. Seems like very hard work today. Maybe I could concentrate better if I did a bit of exercise?
7. Go for a walk or bike ride, or put on latest Girls Aloud album and dance around the living room. Close curtains if the neighbours are home.
8. If plan has been correctly followed, it will now be around 3 (possibly after) and partner's arrival home from work will be imminent. You have not yet written one single solitary word other than "lol" or "fail". These barely count as English. Allow feeling of destitution and disappointment to gather over you for a few minutes.
9. Time to knuckle down. Straight after this cup of tea.
10. Congratulations, you are a successful (?!) graduate of Bradley's foolproof ten-step procrastination method....
Subscribe to:
Posts (Atom)