If you have 60 minutes to spare, here’s an amazing video on creativity and the brain with neurologist Oliver Sachs and artists Chuck Close and Richard Serra: http://www.charlierose.com/view/interview/11264
About halfway in, Chuck Close says something that electrified me. Charlie Rose asks him about inspiration and how that figures in his art and Close says, to great general amusement, “Inspiration is for amateurs. The rest of us just turn up for work.”
This week I turned in draft 13 of Balthasar’s Gift, the draft that, if they are happy about it, my agent and her co-agents are going to start shopping around. Thirteen drafts and three-and-a-half years of writing. If I was still relying on inspiration, I’d have given up years ago.
Close’s off-the-cuff comment also made me realise why it took me so long to commit to being a writer. I was waiting for the inspiration. Now I know it’s mostly about the work.
While reading to the creative writing students about voice this weekend, I found myself getting a little choked up. It’s embarrassing at the best of times to cry in public, but to well up and start snuffling while teaching is a bit much.
It was these words of Holly’s about fear that did it:
If your heart is beating fast and your palms are sweating and your mouth is dry, you’re writing from the part of yourself that has something to say that will be worth hearing. Persevere. I’ve never written anything that I’ve really loved that didn’t have me, during many portions of the manuscript, on the edge of my seat from nerves, certain that I couldn’t carry off what I was trying to do, certain that if I did I would so embarrass myself that I’d never be able to show my face in public again — and I kept writing anyway.
At the heart of everything that you’ve ever read that moved you, touched you, changed your life, there was a writer’s fear. And a writer’s determination to say what he had to say in spite of that fear.
So be afraid. Be very afraid. And then thank your fear for telling you that what you’re doing, you’re doing right.
Voice is born from a lot of words and a lot of work — but not just any words or any work will do. You have to bleed a little. You have to shiver a little. You have to love a lot — love your writing, love your failures, love your courage in going on in spite of them, love every small triumph that points toward eventual success. You already have a voice. It’s beautiful, it’s unique, it’s the voice of a best-seller. Your job is to lead it from the darkest of the dark places and the deepest of the deep waters into the light of day.
I know that fear. Only too well. When I first started blogging, I used to shake. When I first started writing, it was as terrifying for me as it is for a novice skier pushing off down a black slope. It was scary because I was putting myself on the line, because I was saying the things I’d always wanted to say, because I was finally self-identifying as a “writer”.
And I credit blogging with getting me there. All the posts I’ve written here, all the playing around with memes and lists and making friends and writing about writing, have helped me develop confidence as a writer and a voice. It’s been my playground.
What I so wanted to impress on the creative writers at the weekend workshop is that our voices – the part that makes us all unique – are already right there. Voice is not something to fight or search for. It’s a matter of being oneself. There was an amazing moment during the workshop when the individual voices really shone out. We did an exercise on point of view and they had to rewrite Cinderella in third person from the point of view of one of the Ugly Sisters, or Snow White from the POV of one of the dwarves. Plot was a given. The outline was already there. The characters were fully formed. All the writers had to do was give them a voice. And they did it brilliantly. Even though nine of them chose to write Grumpy’s story, each Grumpy was fabulous and unique.
As Holly says, it’s just a matter of harnessing that voice and leading it out into the light of day.
No matter how damn scary that can be.
P.S. Although I’m deep in revisions, I’m joining my friend Melissa from The Book or Bust in her Month of Making Things Up. Let us know if you want to play.
After working my creative writing students hard for most of the weekend, I let them sit back and listen while I read them Holly Lisle’s words of wisdom on how to find your writer’s voice. If you want to appreciate her words in full, here’s the link. This section particularly resonated with me:
Your job in this exercise [Challenge your Preconceptions] is to become, although only temporarily, the thing that most frightens, angers, or bewilders you. To do it right, you have to allow your enemy to convince you of his rightness — you cannot allow yourself to convince him. For example, the strongly Christian writer cannot have the character he is writing experience a conversion to Christianity or see the error of his ways — he must, instead, have the agnostic prove to himself that he is right in his choice to be agnostic.
I’ll tell you right now that this is some of the toughest writing that you’ll ever do. Don’t try it when you’re tired or cranky or when you have a headache — you’ll probably get one from this particular exercise even if you felt great beforehand. But do take the leap and do this. It is the absolute best way (if you play fairly) that I’ve ever found to start developing characters that aren’t either transparent versions of yourself or pathetically weak straw men that you can triumph over as villains.
I’ve been struggling with my latest set of novel revisions and this is why. Michaela’s sub-agents in London want the novel to have more psychological darkness and they would like to see the killer become less one-note. In other words: I have to get into the head of a psychopath. Never a pleasant place to be.
I’ve been remembering Kristi’s recent post about empathy in fiction and I realised that I have been struggling to add more light and shade to the character because I don’t want to empathise with him. I don’t want to understand what makes him kill. I don’t want to know how the heart of a killer beats.
When I try to do so, I get a headache, feel unbearably tired or in sudden need of a brisk walk. I do everything possible NOT to find out what makes him tick. I am resisting.
However, thanks a brilliant talk with my number one cheerleader and writing midwife today, I am ready to dive in.
So if you find me wandering the streets of Heidelberg looking disgruntled, send me home.
Last night I had the honour of hearing Siri Hustvedt read from and talk about the ideas that informed her new novel The Summer Without Men. Heidelberg doesn’t get many visits from major literary celebrities and Hustvedt is up there in my top five favourite authors, so despite having a husband out of town, babysitters canceling at the seventeenth hour, a parking snarfu in the city centre, I made it, clutching my little blue ticket like Charlie gaining admittance to the chocolate factory.
It was worth it. Siri is razor-sharp, witty and incisive. She read sections from the book in English, which a local actress then read in German.
The Summer Without Men – which I haven’t finished yet, but am savouring like a delicious treat – is the story of Mia, a poet whose scientist husband Boris decides he needs a pause after thirty years of marriage.
“The Pause was French with limp but shiny brown hair. She had significant breasts that were real, not manufactured, narrow rectangular glasses, and an excellent mind. She was young, of course, twenty years younger than I was, and my suspicion is that Boris had lusted after his colleague for some time before he lunged at her significant regions.”
Mia goes mad for a short time, a Brief Psychotic Disorder her doctors call it, and then retreats home to her mother in Minnesota, where she spends a summer in the republic of women, a summer without men.
Vital to the novel is the word “pause”. Boris does not request a stop because he wants to “keep the narrative open, in case he changed his mind.” Hustvedt said last night that the novel itself is a pause in the life of the character, the place between Crazy Winter and Sane Fall.
She also said that this was her first attempt at comedy. Comedy is subversive and she was trying to subvert and resist the idea that “the imagination and intellect of women is inferior to the imagination and intellect of men”. Men and women walk around with this unconscious prejudice and she was attempting to unpick it.
Her main tool in doing so was irony. “The tone is the thing. This is a banal situation. But Anna Karenina is banal. So is Madame Bovary. Just because it is a banal story, told with irony, doesn’t mean it is without feeling.” Later, when the moderator suggested that irony emancipates, she agreed, “Totally!” And later, “Where would we be without it?”
I haven’t reached this part yet, but during her summer, Mia takes herself on an intellectual journey through literature, science and philosophy, trying to find a “territory of ammunition” where she can understand what has happened to her. Hustvedt described this as a dance, one in which she herself is also engaged. She talked in detail about how the science of the gendered brain is being undermined, saying that the brain is plastic and changes according to experience. “The idea that women think differently is untenable.” She was not dismissing neurobiology, only saying that it was full of unconscious perceptions about women and much of of these prejudices go unacknowledged.
Her conclusion was that there is a small biological difference between the sexes and not much more. Both Hustvedt and her narrator come to realise that what is important is only “how much difference that difference makes and how we choose to frame it.”
It was all highly interesting, especially as Hustvedt operates in a literary milieu that damns women’s writing as domestic, while men’s writing is of course about the human condition. If the floor had been opened to questions, this was what I was planning to ask her, but I feel that she answered me anyway: to reverse the stereotypes and prejudices about women, gender and difference we must talk, subvert, mock, play and use irony. We shouldn’t be frighten to question received ideas in literature, science and philosophy and re-present them for our own use. There are many examples of this in The Summer Without Men, but the best is that of a certain Renaldus Columbus, who in 1559 – to the stupefecation of many women – was credited with discovering the clitoris.
To this, Mia pens a limerick:
“When Columbus spied the Mount of bliss,
He stopped and asked himself, “What is this?”
A button, a pea?
No, silly man, it’s a clitoris!”
It was a fabulous and dazzling evening, only slightly spoilt by the moderator, who had clearly decided not to plan any questions in advance and think on his feet. As a result, he came across as woolly, pompous and arrogant. Which in the light of what Hustvedt is saying about gendered perceptions of intelligence is rather ironic.
*On her tour of Europe, Siri Hustvedt did a reading at Shakespeare and Company in Paris
I’m still unpacking boxes but am gloriously happy in my new home. Living without a kitchen is interesting, but since I was the one who sold the concept to my family as a big adventure, I’m not allowed to complain. Let’s just say that once the cooking on camping plates and the washing up in the bath comes to an end, I’ll be even happier than I am now. Fit to burst happy. Disgustingly, floating on air happy.
I had more happy news about Balthasar’s Gift. My agent M works with a fabulous London literary agency who sell her books in the British market, and she sells theirs in the German market. A couple of agents read BG over Christmas and reportedly ‘loved it.’ They have asked for some revisions and after a call with them next week, I will be getting to it.
This is the third set of agent revisions I will have done since August last year. The road to publication is not easy! And ’tis filled with revisions!
However, I can see BG getting stronger and stronger and that makes me – you guessed it – happy.
In case you feel the need to slap me, I have already submitted the novel revisions to my agent. Despite having a houseful of guests this weekend and childrens’ social calendars to massage, I was a good little writer. And there is a secret to my success: you know how all the famous artistes of history had wives who did all the actual bloody work, while the fellas scratched their bums, sucked their quills and tried to find words that rhymed with orange? Well folks, I have a husband and a damn useful one at that. I have to admit that there was a certain amount of bliss, sitting in my office, hearing the noises of my family and our friends above me, smelling the scent of food being cooked by someone else, knowing that all was well in the world and my only responsibility was to put words in a row.
One of my blog readers recently bemoaned the fact that I no longer keep a list of the books I’ve read during the year and that she and her Swaziland book club would like some top tips. So this post is dedicated to M (how are you, honey?) and the ladies in Piggs’ Peak, Swaziland, who are in need of hot book recommendations.
Without further ado, here are my Top Ten Books of 2010:
The How We Miss You, Stieg Larsson Crime Fiction Award goes to Jo Nesbo’s The Snowman. This is a biting, edgy crime thriller set in a wintery Oslo with jaded cops, evil murderers, lots of corpses, inappropriate sex and heavy drinking. A great read and a page-turner that would make an excellent Christmas present for anyone who loved the Millenium Trilogy.
The Laughing All the Way to the Bank Award for Literary Fiction goes to Emma Donaghue whose novel Room did not win the 2010 Man Booker Prize but which consistently out-sold the other five short-listers. Room, reviewed here, is a brilliant exercise in first-person narration and a stunning depiction of incarceration from the perspective of a five-year-old child. It’s moving, surprisingly funny and very beautiful.
The Maybe I Won’t Emigrate to Australia After All Award for Difficult Fiction goes to Christos Tsiolkas for The Slap. At a suburban barbeque, someone slaps another person’s child, and the novel tells how family ties and friendships dissolve and unravel as a result. Tsiolkas, dare I say it, does not pull his punches and Aussie society is revealed, warts, prejudices, misogyny, racism and all.
The Beautiful Book in Translation Award goes to Julia Franck for The Blind Side of the Heart. This is World War II written from the German perspective and it is tragic, heart-wrenching and exquisitely written. Read it if you dare.
The I Laughed, I Cried Animal Lovers’ Memoir of the Year Award goes to John Grogan’s Marley and Me. I read this against the background of my family’s debate about whether to get a dog or not. Marley, being a good-natured oaf given to idiotic pratfalls, did not press his species’ case successfully, but it is a delightful book.
The Damn, I Wish I Was this Clever Award goes to Margaret Atwood for The Year of the Flood, part two in her dystopian trilogy. I’m not usually a huge fan of science fiction, but I’m loving this series, and Atwood is of course brilliant, incisive and sharp.
The Put Your Feet Up And Dive In Big Fat Page-Turner Award goes to Stephen King for Under the Dome, reviewed here. The reviewer says he ‘constructs a world so compelling that you are obliged to keep reading, pressing the accelerator against your more civilised instincts, because you just know the end is going to be ghastly and grim.’
The Makes You Hungry Without Wrecking Your Confidence in the Kitchen Cookbook of the Year Award goes Bill Granger for his fabulous Holiday, a feast of fresh flavours, novel ingredients and charming pictures of the lovely and boyish Bill.
The Lifetime Achievement Award goes to Jane Smiley whose thirteenth novel, the beautiful Private Life was published this year. The tagline reads ‘Marriage can sometimes be the loneliest place’ and in this book she traces the relationship between two people who really shouldn’t be together, but who survive a lifetime of marriage against society’s expectations of them.
The Wolf Hall Book of the Year Award goes to Curtis Sittenfeld’s American Wife, reviewed here. This is an ambitious book and I was nervous of reading it, because I don’t much like George Bush and I didn’t want to feel sympathetic to him in any way. However, it is brilliantly done and of course is not really about George or Laura Bush, but about Alice and Charlie Blackwell. It is an audacious attempt to fictionalise the lives of people who are still living, and while my mind swung from the fictitious characters to the real ones and back again, in the end I gave in to the sweep of Sittenfeld’s story. She deserves prizes and paeans for a big, bold novel and quite frankly it is she, not Jonathan Franzen, who the USA should be lauding as the leader of their modern literary canon.
And in case anyone wishes to send me books or give me gifts, here is my remaining wish list for 2010:
So I’m back from my journey. We took a 12-hour drive to the Dordogne Valley for a week’s glamping at the unequivocally fabulous Camping les Ormes. This is a camping site that actually lives up to its website – it is that beautiful. While strong design values don’t make an iota of difference to my kids’ holiday, or for that matter, my husband’s, they do to mine. I loved sleeping in a tent with a chandelier and an antique piano, having crystal tea light holders and fresh roses on the white kitchen table. Pictures and a full report to follow.
Today is South Africa’s big day, and we are off shortly to celebrate the start of the World Cup with all the South Africans who live in Germany. Since there are only 14 of us, some Germans have also been invited and we are looking forward to teaching them how to blow the vuvuzela. Though I hold with good design values, I may break from those for today and wear my green Bafana Bafana t-shirt. Because, the boys, you know, we want them to win.
I watched some of the concert last night and cried in the dark in front of the telly. The atmosphere was amazing, the musicians outstanding and I felt proud, patriotic and very far away. Still get a lump in my throat when I think about it.
My novel is progressing well. I am close to the finish line of draft four and have promised myself and my husband to start approaching agents by July at the latest. I wrote a car chase scene last night that included references to BMW model numbers and felt like James Bond, just for the day.
This was our family theme song for the holiday. Yes, we do allow our children to sing songs about ‘blowing the bad guys away’. We also let them play ‘I kissed a girl and I liked it’ on their recorders.
Hooray for Barbara Kingsolver winning the Orange Prize! I ordered The Lacuna from my DH who flew in from London last night, and as I wiped my tears and read the first pages at midnight, I discovered that Kingsolver has stolen a phrase of mine. Goddammit, don’t these published authors have any respect for great unpublished? It’s a phrase I’m proud of, that my beta readers have all circled and given me a gold star for. Now I have to decide whether to get rid of it, or let it slip in there.
Which is all grist to the finishing mill, so I’ll bid you another farewell. See you at the end of Draft Four!
This is the first time I’ve been scared by a meme. Nova tagged me, and as she said in her introduction, it’s very easy as a writer to name your own weaknesses, but far harder to pinpoint, face up to or admit your strengths.
I think this is a great exercise. It took a little courage, but here are what I believe to be my five writing strengths:
1. I am a writer. I wanted to be a writer from as far back as I can remember, and I have earned my living as a writer since I graduated from university in 1992. I know that I can write anything, given a good brief, a cup of coffee and a deadline. However, it was only last year during a visit to the dentist (The Cool White Room of Peace), that I realised that just because I haven’t yet published My Novel that doesn’t make me not a writer. I write daily, I write constantly, it is part of my being and who I am. I get published. I have by-lines. I write anonymously. I ghost-write. I write online. I blog. I am a writer. It’s my passion. As Nova said, “there is no Plan B.”
2. I have a natural voice. Right now, I’ve finished plotting the narrative arc of my novel and I am making some decisions about voice. Having written professionally for 15 years in my own voice, it’s proving quite difficult to step out of that and use someone else’s – someone weak, someone unreliable, someone I probably wouldn’t want to be friends with. I have to find a way to inflect this character’s voice with some of the natural ease of my own, while still maintaining the jars, prickles and brittleness that will make her unique.
3. I write instinctively. This is probably allied with the point above, but I think the way I write creatively flows from a place that is not of the intellect. Writers talk about being in “the zone” and I get there easily. Words flow. It’s just a matter of allowing myself the time and space to let it happen. I got some good tips from a seasoned author recently about consciously carving out the time for my creative writing. Now I need to implement them.
4. I make good pictures. My images come with smell; they are three-dimensional and lively. I’m good at place, at evoking physicality. My characters don’t float in a dreamscape – they are strongly bound to places that trap them, that free them, that scare them.
5. I am endlessly fascinated by people. Sit me down with someone for an evening, and by the end of it I’ll know about their granny’s double mastectomy and breast reconstruction (C-cup), their brother’s predilection for bulk-shopping toilet rolls (a decade’s supply in the garage), their uncle’s fling with right-wing politics and their friend who was so charged with adrenaline when an intruder broke into her flat on the second storey of an apartment block that she picked him up and threw him out of the window. People tell me stuff. I don’t make notes (that would be rude) but I file everything away. People are far weirder, far odder and far more fascinating than fiction. And I LOVE fiction.
On that note, I’m dying to know how others might respond to this challenge. I tag: