Cure your writer’s block
Sometimes writing is a challenge. We sit at our desks, pens in hand or fingers poised over the keyboard and….[drum roll]…… NOTHING. I had a spell like this during lock down last June. With no where to go and no one to see, I had plenty of time to write but every day, I sat in the garden, and laboured away with limited success and much frustration. Finally, I remembered something important (the cure for writer’s block!). Writing is not the only work.
Reading is also the work
No book exists in a vacuum. A book is always in conversation with others on the shelf. Books that share similar sensibilities, books with overlapping locales and themes. Books that influenced yours whether because of plot or character or prose or narrative style. One thing I’ve learned to do at the start of a new project is to brainstorm a reading list. Books I need for research purposes and ones that might offer inspiration. So I gave myself a break, write very little and read a whole lot, coming up for air in between to put more books on hold at the library (ours had just opened for curbside pick up). Bliss.
Learning is also the work
Controversial opinion: MFAs are overrated. Certainly they are expensive. You know what’s free? Live recordings of Tin House Craft Talks. Writing is a difficult thing to teach well so on those occasions when an author perfectly enunciates some aspect of craft, it’s worthwhile to pay close attention. This lecture by writer Alexander Chee, on character and plot and early draft woes, was good enough that I listened to it three times, the last time with a pen in hand.
Chee, like me, is firmly in the character first, plot second camp. For him, character is destiny and he offers concrete suggestions on how to interrogate your characters until you discover (I’m paraphrasing here) the specific things that could only happen to them, because of a combination of who they are (fate) and the decisions they make (free will). In this way, you arrive at your plot.
When I’m advising other authors, I say you have to know two big things: what does your character want more than anything? How far will they go to get it? But you can’t jump to these questions first and expect immediate answers (trust me, I’ve tried). You work toward the big questions by figuring out all the other stuff. What family was this character born into or raised in? How many siblings? Was money tight? What about religion? First love? First heart break? Vocation? How do they portray themselves to the world? What are they blind to in themselves? How would their employer describe them? Their best friend? Their lover? Their parent? Who do they envy? Who do they pity? What about themselves do they hate most? Hide most? Chee recommends a number of exercises including subjecting your characters to the questions in a Tarot Reading. He shares Zola’s cue card exercise.
Chee’s lecture was also a timely reminder to slow down. To cultivate patience. Characters are a little like very good friends. Relationships are built over long stretches of time. No one shows you their skeleton closet right away and even if they do, it takes a while before you know them well enough to intuit the secrets they are reluctant to reveal.
And anyway, “the story of a life is not a novel,” says Chee. You dream up a life story, yes. But then, you must be intentional, picking and choosing what to reveal and in what order. Without intentional shape, there’s no propulsive drive, no taut rope leading the reader from first page to last. Chee’s craft talk got my mind whirling. Afterward, I managed to eke out something approximating a scene. Turns out this is also where inspiration comes from: other books, other authors.
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