This will be Part II to the piece on voice posted on the 6th. (To access this post on site, simply click on the title.) I returned from a seven-day hike late Monday. Hiking is—surprisingly—not “thinking time” in terms of writing. Rather, with the careful placing of feet—no twisted ankles, please!—it’s more meditative, with the focus and the clearing of all else. But I carry a notebook and pen in my pack and scribble once we stop moving. Thank you for your patience, as I navigated the summer months, writing and posting to
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!
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.
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!
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!
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.
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!