You present the experience of writing as a prism, as a way to reflect upon yourself and within yourself and without yourself. I could never have imagined the activity as being so malleable before. I’m also a musician and an actor. In those worlds, the practice of pivoting is instrumental in maintaining a moment that’s true and alive and volatile. When I’m out of my muse’s way and exist to serve the piece to the fullest (instead of using the piece to serve my ego), I dance with my craft in this way. But here you have presented a path to dance with my writing in the same way. Thank you!
We have much to glean from other forms of art. Music and acting both have roles in writing. In my time of teaching, I found actors understood much about character, and brought that to the page. My work and process benefited from the time I spent learning flamenco.
True, alive, volatile.
In the first post on Voice I spoke of vigor. This trio of words creates a space to measure that quality. Thank you, Tonoccus. And for the words about moving out of the way and serving the work--yes!
Last month read The Late Comer by Jean Hanff Korelitz and was struck by how undeveloped the characters were, yet the book was mesmerizing. It was the satire that successfully carried it. Yes, family ties also delineated, but by the narrator's admission (and who is the narrator? Sometimes omniscient, sometimes the reader is reminded that it is the voice of one of the characters) the characters are not particularly interesting with few interests.
Now with difficulty forcing my way through Carol Shields "Unless," an ongoing analysis of writing, what needs to be included in character, pearls from other writers, all in first person, a woman so far pretty staid. I am sorry - I have never taken a shine to Carol Shields, revered as she is. Everything I've read feels so pedantic. Anyway, everything about writing and character development upon which the main character muses is very different than what is found in The Late Comer.
This makes me want to go pick up a copy... thank you!
Had to come back and add: no need to apologize if you don't "take a shine" to a writer. I appreciate the thoughts on why--and how the work does or doesn't work for you. There is something to be learned...
My most recent novel (which I hope is complete), has occasional visits from the ghost of Spanish poet/ playwright Lorca. I have more than entertained the thought that his voice might be the omniscient third person telling the story, and to have it more definitely emerge by the end, as a kind of a wink to the reader. It is a humorous novel. However, on my NEXT read-through I will think a little more of syntax and era. I'll have to deal with that somewhat gingerly, so readers don't think I am being precious or pretentious, but would like an aha moment at the end when the narrator's voice emerges more strongly in the sort of final sum up off into the sunset moment. the story takes place in 1999 and Lorca died in 1936. Obviously reading his poems and diaries in translation. I may have to take this to the next step. Thanks Alison, back to the grindstone...something to get me through the next lockdown!
NO! There can't be another lockdown--I just bought an ancient campervan and need to go somewhere...
Seriously, I love this idea of the voice throughout, recognizable at end (and in bits here and there possibly? That a keen reader might pick up, then have confirmed?)
In trying to find the voice of a time, don't read about the time; read from the time, work that was published then... I have found when writing historical work.
I hope to read this some day--sounds so good. How good to be "finished" and the real play starts then!
Yes that's right, reading from the time. What do mean when you say "bots here and there". I'm not familiar with that term? But I think I like the idea of it emerging in certain places. Excellent. Do you mean bits? Anyway it is the novel I have been sending out to agents and publishers. It's run the gauntlet of book clubs, friends, colleagues and a recent killing of darlings to the tune of 20,000 words (during a lockdown). So glad you scored a camper van, a long term dream of mine!
Yes--"bits." Oh my, the o being next to the i... (had to edit!) Your proposed work for yet another go-through sounds solid. And fingers crossed when sending it out again.
I've been looking for a van for several years. Covid made the prices crazy, and so few available. And this one was the perfect layout--very simple. And of course, writing was the priority--has a great table and bench set-up, and the passenger seat turns around and becomes a comfy chair from which I can put up my feet. I look forward to hearing the rain on the roof while working...
You present the experience of writing as a prism, as a way to reflect upon yourself and within yourself and without yourself. I could never have imagined the activity as being so malleable before. I’m also a musician and an actor. In those worlds, the practice of pivoting is instrumental in maintaining a moment that’s true and alive and volatile. When I’m out of my muse’s way and exist to serve the piece to the fullest (instead of using the piece to serve my ego), I dance with my craft in this way. But here you have presented a path to dance with my writing in the same way. Thank you!
We have much to glean from other forms of art. Music and acting both have roles in writing. In my time of teaching, I found actors understood much about character, and brought that to the page. My work and process benefited from the time I spent learning flamenco.
True, alive, volatile.
In the first post on Voice I spoke of vigor. This trio of words creates a space to measure that quality. Thank you, Tonoccus. And for the words about moving out of the way and serving the work--yes!
Last month read The Late Comer by Jean Hanff Korelitz and was struck by how undeveloped the characters were, yet the book was mesmerizing. It was the satire that successfully carried it. Yes, family ties also delineated, but by the narrator's admission (and who is the narrator? Sometimes omniscient, sometimes the reader is reminded that it is the voice of one of the characters) the characters are not particularly interesting with few interests.
Now with difficulty forcing my way through Carol Shields "Unless," an ongoing analysis of writing, what needs to be included in character, pearls from other writers, all in first person, a woman so far pretty staid. I am sorry - I have never taken a shine to Carol Shields, revered as she is. Everything I've read feels so pedantic. Anyway, everything about writing and character development upon which the main character muses is very different than what is found in The Late Comer.
This makes me want to go pick up a copy... thank you!
Had to come back and add: no need to apologize if you don't "take a shine" to a writer. I appreciate the thoughts on why--and how the work does or doesn't work for you. There is something to be learned...
My most recent novel (which I hope is complete), has occasional visits from the ghost of Spanish poet/ playwright Lorca. I have more than entertained the thought that his voice might be the omniscient third person telling the story, and to have it more definitely emerge by the end, as a kind of a wink to the reader. It is a humorous novel. However, on my NEXT read-through I will think a little more of syntax and era. I'll have to deal with that somewhat gingerly, so readers don't think I am being precious or pretentious, but would like an aha moment at the end when the narrator's voice emerges more strongly in the sort of final sum up off into the sunset moment. the story takes place in 1999 and Lorca died in 1936. Obviously reading his poems and diaries in translation. I may have to take this to the next step. Thanks Alison, back to the grindstone...something to get me through the next lockdown!
NO! There can't be another lockdown--I just bought an ancient campervan and need to go somewhere...
Seriously, I love this idea of the voice throughout, recognizable at end (and in bits here and there possibly? That a keen reader might pick up, then have confirmed?)
In trying to find the voice of a time, don't read about the time; read from the time, work that was published then... I have found when writing historical work.
I hope to read this some day--sounds so good. How good to be "finished" and the real play starts then!
Yes that's right, reading from the time. What do mean when you say "bots here and there". I'm not familiar with that term? But I think I like the idea of it emerging in certain places. Excellent. Do you mean bits? Anyway it is the novel I have been sending out to agents and publishers. It's run the gauntlet of book clubs, friends, colleagues and a recent killing of darlings to the tune of 20,000 words (during a lockdown). So glad you scored a camper van, a long term dream of mine!
Yes--"bits." Oh my, the o being next to the i... (had to edit!) Your proposed work for yet another go-through sounds solid. And fingers crossed when sending it out again.
I've been looking for a van for several years. Covid made the prices crazy, and so few available. And this one was the perfect layout--very simple. And of course, writing was the priority--has a great table and bench set-up, and the passenger seat turns around and becomes a comfy chair from which I can put up my feet. I look forward to hearing the rain on the roof while working...