Naomi Kritzer has a solid article on editing your work, with advice about doing your post-first-draft edits. A lot of advice out there is focused on just getting the first draft done, but glosses over the essential editing/rewriting process that takes it from a messy first draft to something you’d actually want to show someone else, so this is a welcome addition to the conversation.
I think this is a worthwhile thing to remember:
One of the really magical things about writing is that sometimes, that throwaway bit that didn’t mean anything when you put it there turns out to be the key that holds everything together. I think of those moments as gifts from the muse. Editing isn’t always about making the thing Not Suck; it’s also about spotting the really brilliant bits and polishing them up and focusing the lights on them so people can notice how very shiny they are.
Not sure why it resurfaced now, but from 2015 over at the New Statesman, there’s a delightful interview between Neil Gaiman and Kazuo Ishiguro, discussing genre and class and escapism and all sorts of interesting things. Well worth the read, and feels pretty topical even now.
KI I don’t have a problem, necessarily, about reading for improvement. I often choose a book because I think I’m going to enjoy it, but I think also it’s going to improve me in some sense. But when you ask yourself, “Is this going to improve me?” what are you really asking? I think I probably do turn to books for some sort of spiritual and intellectual nourishment: I think I’m going to learn something about the world, about people. But if by “improving”, we mean it would help me go up the class ladder, then it’s not what reading and writing should be about. Books are serving the same function as certain brands of cars or jewellery, in just denoting social position. That kind of motivation attaches itself to reading in a way that probably doesn’t attach itself to film.
Many of the great classics that are studied by film scholars are sci-fi: Fritz Lang’s Metropolis, Tarkovsky’s Solaris, Kubrick’s 2001. They don’t seem to have suffered from the kind of genre stigmatisation their equivalents would have done in book form.
NG I remember as a boy reading an essay by C S Lewis in which he writes about the way that people use the term “escapism” – the way literature is looked down on when it’s being used as escapism – and Lewis says that this is very strange, because actually there’s only one class of people who don’t like escape, and that’s jailers: people who want to keep you where you are. I’ve never had anything against escapist literature, because I figure that escape is a good thing: going to a different place, learning things, and coming back with tools you might not have known.
So You Want to Be a Writer? Essential tips for aspiring novelists over at the Guardian, by Colum McCann, who also has a book on the topic. It’s an enjoyable read, and has some good advice without being a shill or clickbait-y.
The only true way to expand your world is to inhabit an otherness beyond ourselves. There is one simple word for this: empathy. Don’t let them fool you. Empathy is violent. Empathy is tough. Empathy can rip you open. Once you go there, you can be changed. Get ready: they will label you sentimental. But the truth is that the cynics are the sentimental ones. They live in a cloud of their own limited nostalgia. They have no muscularity at all. Remember, the world is so much more than one story. We find in others the ongoing of ourselves.
25 habits that will make you a writer by Shaunta Grimes — ignore the terribly clickbait-y title, the advice is actually pretty good. A lot of it may come off as pretty obvious (write every day), but I think it’s still worth a read, and includes some links to some other good books and resources. (Also, pretty relevant regardless of whether your chosen medium is writing or painting or sculpting, or any number of other creative outlets.)
I put the (ADD WORD LATER) in Procrastination! by Bonnie Burton, guest blogging over at Wil Wheaton’s blog.
A friendly reminder that we all procrastinate sometimes.
And sometimes that’s hugely painful or difficult, especially when we’ve been socialized to believe that who we are, deep down, is somehow immoral and incorrect. Because the first thing you have to figure out is who you are. And what you want. And that it’s all right for you to want and be those things, even if somebody else told you it was wrong. Even if it’s risky. Even if your family might not understand. (Of course, it’s also risky because it might involve important relationships changing drastically, giving up things that are precious to you, and re-assessing your investments or renegotiating your life path.)
That can be a tremendously painful process, this letting go of what you thought you ought to be, what you were invested in being–and just being what you are. Feeling your feelings, Writing your words. Making your art, which involves telling your truths.
Read the rest of the post (and really, a lot of her posts lately). Worth it.
I was talking with a friend the other day about what I call “intellectual fappery.” This is in reference to the sort of academic papers (in particular in art criticism or art theory) that are so wrapped up with jargon and linguistic flourishes that it’s unreadable to a lot of people. It never made much sense to me that they’d do this (why make it harder to win people over to your point of view), and I sort of presumed that it was some sort of smug self-aggrandizement, speaking opaquely to keep out the riff-raff. (Another alternative is that they’re simply too inept at communicating their ideas, and so hide it behind linguistic flourishes.)
I had a minor epiphany, though: while some may be putting on airs, a lot may simply be in love with language. Not in terms of communication, but as expression. Flowery turns of phrase, using ornate, overly complex language not because they want to obscure their message, but simply because they think ornate, overly complex language is pretty. In short, an entire body of writing (looking at you, art theory and art critics) that prioritized form over function.
This doesn’t really make it any more fun to read (especially since you’re usually subjected to it as part of studies, rather than reading it by choice), but it does at least seem like a kinder way to look at things.
I’ve been debating doing NaNoWriMo this year. I’ve participated on and off for years, though I’ve never finished. At this point, it’s been a long time since I’ve written fiction (or told any sort of story, fictional or not), and I miss it. It’s a little weird to say that, since a) there’s technically nothing stopping me from doing it now, and b) I was never all that amazing at it. (I’m trying really hard not to just completely bag on my writing ability, since people seemed to generally respond favorably to what they read, and bear in mind Ira Glass’s quote on creative work, but it’s hard. Even with the stories I was moderately pleased with, there was SO MUCH room for improvement.)
I do miss it, though. It’s weird — I’ve felt blocked to the point of frustration for years now, and unable to bring myself to get past it, even though I know the answer is simply to keep it up until I get through the brambles. I’ve been thinking about it a lot for a while now — the dearth of creative outlets and making in my life, and it really struck home a little while ago. I was having a conversation with someone who is a maker and doer (and just generally awesome person), and we were talking about hanging out sometime, and they said they looked forward to hearing/seeing what I make. I was instantly filled with embarrassment, because I felt like I had nothing to offer to that conversation. I love creative people — it’s what I’m attracted to, both in friends and otherwise — and when given this opportunity to make a more solid connection with someone I already liked and wanted to get to know better, I felt like I had nothing to contribute.
Note, it wasn’t anxiety, it was embarrassment. I was embarrassed — I felt like I was a poser who’d been called out on their facade. I realize that isn’t really fair to myself or entirely accurate — there’s room for people who celebrate art and creativity, who are supportive and the first to cheer others on, and that doesn’t somehow make them a sham. But feelings aren’t rational, and it doesn’t feel like enough to validate the role creativity has on my personal identity.
So, it’s time to wade into the brambles again. It’s been so long that I don’t even remember what telling a story feels like on my tongue, the heft and shape of a narrative in my fingers. It’s time to correct that. I’m debating doing NaNoWriMo this year, and it almost doesn’t matter if I finish, as long as I actually begin.