Posts tagged ‘novels’

May 9, 2011

How to Write the Pulitzer Prize for Fiction

I have to agree with Jennifer Egan about how spending too much energy on a project in any one day can affect the rhythm of the prose. I’ve found it can, too, but a good nap can start you up all over again. But then I don’t have two children to raise—I’m so lucky for that.

She, the writer of “A Visit From The Goon Squad,” attempts to hand-write five to seven pages a day. Some days she writes that much in an hour or two, sometimes it takes as much as four. She usually spends the extra time avoiding getting those pages written. She refuses to write more than that total because she finds it drains her energy too much and that badly affects its rhythm.

May 9, 2011

A Few Words about Good Writing

The spoken and unspoken seconds of speech make writing real. Its reasoning and its opinions and its judgments make good writing come alive: it’s intimately personal to the reader that way. It’s the sarcasm and wit and sparring and opposite emotion between speakers which displays the most precise and appropriate words. Each dialogue or monologue must be one that’s awesome to read and awful to end, so that whatever follows pales in contrast for some time: “I remember every word he said, so I forget everything I’ve heard since we spoke.” Write speech that is as vivid as live action.

May 5, 2011

Progress is progress every day

I’m happy to say that all is going well with my new novel, Tesora. Hopefully, I will complete its rough draft by August 1st at 1:00 p.m. This will be my third novel in as many years. I love that feeling of confidence knowing I can succeed every day by making progress on it. My ultimate plan is to finish another forty before I’m done although by then, I’m sure the number of planned novels will be eighty. I can’t stop coming up with new ideas: one problem is deciding which one. The main goal is really to excel and improve with each new day of writing—it’s not a goal of perfection so much as the goal of opening up to the world in my imagination and trying to join a wider world full of imagination. Thanks, readers.

April 20, 2011

Agent, Molly Friedrich, from Poets & Writers

Here’s an excellent interview from Poets & Writers with the agent, Molly Friedrich. It’s an in-depth view of the world from one of the best agents in the publishing business. Enjoy.

April 10, 2011

How to learn to learn to write

Two Girls Invent a Spring Day
(for Charlotte)

A mommy, a doggie, a soccer ball, and two three-year-old girls.
One kicks it to the other and she runs away as if chased by it.
One kicks it to her again and she jumps over it twice as it rolls.
The other, tired, says new rule: kick it to yourself so I can sit.
New rule: I kick the ball to the doggie and I sit, too.
New rule: you stand on your head. I stand on my head.
New rule: the doggie should stand on his head.
Look at the doggie and giggle. Look at the sky and giggle.
New rule: when the doggie runs away, I kick the ball at him.
New rule: you have to giggle when you run.
Uh-oh, Mommy calls. Kick the ball to the far corner so
she has to run after it. Laugh at Mommy as she kicks the ball.
Kick it back to the corner again. Laugh at Mommy again.

If I could imaginate like these girls, I wouldn’t
have to walk across a park to a library
to get a book full of it: I’d kick a ball. I’d run.
I’d stand on my head. And I would laugh at Mommy.

April 9, 2011

The Loneliness of a Long-Distance Novelist

Is there a lonelier task on earth than writing novels? On days when the reality I’ve invented no longer serves to fill the space in my life, I feel more than empty. And other times, compared to my imagined characters, real friends and lovers sometimes appear pale. I hung out today with four people of excellent accomplishment, talents, and wit, yet I found myself habitually going home alone and being all right with that. I often feel that only the famous and dead writers I’ve read understand how I feel, yet they are no longer a comfort to me now that I inhabit a world of my own words. Their worlds are now places in which I can no longer live, only visit. I get the impression I’ve dreamed myself into a life others envy, yet they understand only the slightest amount about the solitary place into which it exiles me. It is a weak joke to me that my main characters so often find themselves alienated and desperate to throw themselves into the life of others, yet fail to do so successfully. Perhaps that alienation is the fuel that drives me to create new work after new work. How pale is that?

April 6, 2011

From Tesora: Ronan’s Puerto Rico fishing boat

This is the boat Ronan buys to flee Las Croabas after he is threatened by thieves. It’s seaworthy enough to sail along a coastline, but not enough to survive a storm at sea.

March 27, 2011

So . . . is your novel in the Young Adult category?

Is Tardy Son a Young Adult novel? This was asked my by another writer, Kimberly Elkins, after I told her about my novel. I had written most of it already and was on a final rewrite. I never did intend it that way, so I finished it with the same intention, but then took this test she gave me:

Test for “Tardy Son”:

Young adult literature has certain unique features which set it apart. Books for teens are often written in the first person and usually have:
• a teenage protagonist [ YES ]
• adult characters as marginal and barely visible characters [ NO ]
• a brief time span (the story spans a few weeks, yes, a summer, maybe, a year, no) [ YES ]
• a limited number of characters [ NO ]
• a universal and familiar setting [ NO ]
• current teenage language, expressions, and slang [ NO, HISTORICALLY SET IN 1958 ]
• detailed descriptions of other teenagers’ appearances, mannerisms, and dress [ NO ]
• a positive resolution to the crisis at hand (though it may be subtle and never in-your-face moralistic) [ NO ]
• few, if any, subplots [ NO ]
• about 125-250 pages in length (although many of the newer YA books are much longer) [ YES, 225 ]
• a focus on the experiences and growth of just one main character [ MAINLY, BUT NO ]
• a main character whose choices and actions and concerns drive the story (as opposed to outside forces) [ MAINLY, BUT NO ]
• problems specific to adolescents and their crossing the threshold between childhood and adulthood [ MAINLY BUT, YES ]

SCORE:
YES, YA = 4
NO, YA = 9

Conclusion? INCONCLUSIVE, BUT IT REALLY DOESN’T MATTER.
Is the writing good? THAT MATTERS.

March 17, 2011

The rough draft sticks to my skin

For me a novel’s rough draft can sometimes devolve into a landslide of research, for use beneath the surface of the story and beneath the surface of the writer. How do you know when too much is too much? Sometimes it freezes me up, prevents me from zooming ahead on the opening-up to a fast-write first draft. I do love the spewing forth of the story without too much control: the elements of discovery that occur only at top speed when the imagination and my fingers are rocking at an allegro pace. Or speed punk. But I also want so much to get the story right. Get the geography right. Get the motivation right. The character’s mind and heart. For me? Perhaps, in tribute to the Japanese I’ll do a little Shinto purification, Misogi, with waterfalls . . . write in the bathtub.

March 7, 2011

A fine interview with Mario Vargas Llosa and the point-of-view of a donkey.

On Michael Silverblatt’s Bookworm radio show (KCRW) there’s a fine interview with Mario Vargas Llosa. They discuss how realist stories have supplanted magicalism in Latin American literature and the use of humor. They talk much about writing itself, and the point-of-view of a donkey. The link is: http://www.kcrw.com/etc/mario-vargas-llosa