Watch Women Writers, Women(‘s) Books on Friday, March 1st, for the cover reveal for The Words between Us, which is coming out in September! What better way to celebrate the end of February!
Quentin Tarantino. Joyce Carol Oates. Neil Gaiman. Amy Tan. Jhumpa Lahiri. J. K. Rowling. Truman Capote. Vladimir Nabakov.
What do all of these people have in common? They write/wrote their works longhand, with paper and pen or pencil, before typing them up on either typewriter or computer.
There are several reasons to eschew the computer when writing a novel. There are no online distractions or rabbit trails. It is easier to write forward rather than getting stuck in an endless and premature editing cycle. You don’t have to make sure you’re seated by an outlet. Paper and pen are more portable and are not a pain in the TSA screening line. It’s far easier to write outside where the sun might completely obscure a laptop screen. And we know that looking at a screen all day is not good for our eyesight or our sleep cycles.
Recently I read an article about how taking notes longhand improves recall in students (this despite the push to get laptops in schools). I had a laptop in college and I never brought it to class. I didn’t need a study to tell me that physically writing notes on paper helped me remember what I was learning. If I don’t write it down, it’s gone, baby.
I enjoy writing on paper. I have been journaling for about a year and a half in an unlined notebook. I always write my poetry longhand, scratching out verses and changing words and drawing lines on the page before typing them up. But when it comes to fiction, I really haven’t tried it.
Some people can’t imagine writing a novel that way because they write scenes out of order and it is easier to manipulate the document on the screen than it would be on paper. I always write chronologically, starting at the beginning and writing straight through to the end, though I do sometimes go back while drafting and edit what I’ve already written. In revision, I often add entire new scenes earlier in the story, but that could easily be done in the first typewritten draft.
Anyway, this past weekend I got it in my head to try it with whatever I’m writing next. It will mean I won’t be watching word counts rack up (at least, not until I type the second draft) but I have to wonder if I might benefit from it.
Sunday evening I bought a pack of four .8 mm black uni-ball pens and a pack of three narrow-ruled moleskin journals, 120 pages each, for a total of 360 pages, pre-divided into a three act structure. The pens are pink on the outside, distinguishing them from all my other many pens, and will be used solely for writing in these notebooks.
Now, I do have terrible handwriting, especially when my mind is on a roll. And there may be times when my handwriting cannot keep up with my thoughts like my typing fingers would. But I imagine there will be fewer typos (fast typing means fumble fingers sometimes for me) and I won’t feel the need to go back and correct the ones that do occur because I know I will get them in the second, typed draft.
One benefit I can count on is this — because I won’t want to “mess up” these notebooks, I won’t actually start writing the next story until I’ve done a lot of preliminary work with character arcs and plotting and feel fairly confident that I know the story I’m telling before I put pen to paper.
I’ll be sure to let you know how the experiment pans out.
MSU students are flowing back into the city. My son went back to school today. We are falling back into routine. Earlier nights, earlier mornings, tighter schedules. And I’m okay with that. Summer has always overstayed its welcome in my life, and, as every writer (or anyone who works from home) knows, summer is hard on output.
Back in June, I finally got myself from 40,000 to 50,000 words in my newest novel manuscript. Each paragraph was a hard-fought victory over summer distraction, including having my son home for the summer (no day care) for the first time whilst also continuing to work full time. In July, I don’t think I wrote much of anything. I was busily working ahead in anticipation of camp and vacation, entertaining dear friends at our house, editing someone else’s novel, and then gone for two weeks, during which time I was surrounded by people and working fairly diligently on actually getting a tan.
In August, it was (intensely) back to work writing pages and pages of catalog copy for the Summer 2017 list. I began to think I’d been quite foolish to set a goal for myself of finishing the first draft of this novel before my WFWA writing retreat in late September. My yard and house had atrophied — badly — over the past two months of busyness. We’d been eating out most meals because no one had the time or energy to grocery shop or cook. The weight I’d lost in June by diligently tracking what I ate started creeping back on. And as an introvert used to working in the house alone for much of the day had about reached my limit of days-strung-together-without-a-decent-chunk-of-solitude-thrown-in-there.
Enter Guys’ Week.
My husband and my son had one glorious week of fun planned out for the end of summer, which included lots of time out of the house and two overnight trips. During Guys’ Week, they went to zoos and museums and the LEGO store. They rode carousels, water slides, and elevated trains. They ate way too many coney dogs and made it through a tornado. They drank $6 slurpees and stayed on the 50th floor of the Renaissance Center.
Me? I wrote 20,000 words. In one week.
I could have spent my non-work time that week cleaning the house, doing the laundry, grocery shopping, mowing the lawn, and all the other stuff that needed to get done. But I chose instead to focus on writing.
When he’s an adult, I’m sure my son will have memories of a very different type of household than the pristinely clean one I grew up in. He may remember that many nights for a while there was a bag or a box on the table rather than serving bowls. Occasionally, this bothers and embarrasses me. But I’m comforted by the thought that he may also remember that his parents pursued their passions every chance they got.
In four weeks, summer will be officially over and I will be in Albuqurque, New Mexico, with ninety other writers, women (and one man) who have become dear friends and fellow sojourners in the realm of writing and publishing. We’re all at different stages of our manuscripts and our careers. I’m willing to bet I’m not the only one with a messy house and an empty fridge.
And I’m willing to bet that I’ll have finished my first draft before I step on that plane.
In the past couple years, my son has been keenly interested in learning about natural phenomena, and particularly natural disasters. It’s a universal human impulse to want to know how things work, why things happen, what conditions must be present to form a cave or create a diamond or spawn a tornado. This desire to learn means we watch a lot of documentaries — old National Geographic VHS tapes from my own childhood, DVDs given as gifts or bought from the video rental place going out of business, online streaming programs found on Netflix and YouTube.
You won’t find me complaining about this. Documentaries are generally my genre of choice when scrolling through Netflix. Before streaming, I used to say to anyone who would listen that if they let me customize cable service so I got the History Channel, the Discovery Channel, and Animal Planet and nothing else, I’d be pleased as punch. But I have noticed that my experience watching disaster documentaries as an adult is far different from it was when I was a child.
As a child, I watched clip after clip of the aftermath of earthquakes, tornadoes, hurricanes, and floods with a sense of detachment. I didn’t know any of these people. I’d never been to these places. I didn’t know anyone who had been to any of these places. The often grainy and sometimes black and white footage put distance between the disaster and me, in my real life, placidly going to school and eating dinner and squabbling with my sister. Nothing bad ever happened to me, and so I didn’t consider that it could.
But as an adult, with a husband and a child and a home with my name on the deed, I watch these documentaries with a lump firmly lodged in my throat, my hand hovering around my mouth. I say out loud, “Oh, my,” and “Oh, those poor people.” Because I imagine what it would be like if it happened to my family. I imagine the unfathomable grief at losing a loved one, the terror of an unstoppable force bearing down on us, the brokenhearted relief of surviving in body yet losing the entire contents of my home.
I feel much the same way when I read memoirs or diaries written by survivors of war, or when I see pictures of despondent refugees trying to get their children out of harm’s way, or when I read articles about the few doctors left in Syrian cities under siege, desperate for supplies and forced to prioritize patients who have the best chance of living while they must let others die.
I look at dates and try to recall what I might have been doing at that time when people were suffering. When this city was burning, was I up in my apple tree, wrapped in its pure white perfumed blossoms? When that city was underwater, was I filling the tub with more hot water because I didn’t want to get out yet? When this woman’s husband was executed, was mine bringing the steaks in off the grill? When that woman’s child died in an explosion, was I kissing mine goodnight?
We are not guaranteed happiness. We are not even guaranteed the time to pursue it. Sometimes my own blessings weigh on me because I know it is nothing I have done that makes me deserving of an easy life, just as there is nothing the victim of a natural disaster or a war has done to deserve a difficult one.
The world is broken and the consequences touch every corner of humanity. I wish this shared plight caused us to look to each other more often as brothers and sisters, fellow sufferers, fellow sinners in need of forgiveness and restoration. Instead it too often causes us to look upon each other as rivals in a zero sum game for power, prestige, and possessions, as though for some to win, others must lose.
Every good and perfect gift is from above. A blessing is a gift. It is not earned. It is not a gold medal awarded to you because of your years of dedicated practice. It’s not something you are competing with other people in order to obtain. It is a gift from a Giver with an infinite store. It is a manifestation of grace. And it’s something we can pass on to fellow bearers of the image of God (i.e., everyone on the planet).
What can I give the one who is suffering? My time, my listening ear, my prayers. A blanket, a stuffed animal, a note of encouragement. My love, my understanding, my care. A ride, a hug, a job. I can volunteer for the relief effort. I can help a newly settled refugee family understand their mail. I can teach English, invite the new neighbors to church, make a hot meal for the guy under the bridge.
I can raise a child who has great compassion, who thinks of others far more than I ever did at his age.
I often go through periods of wondering if writing fiction is a waste of time in a world that needs so many more practical things. Why contribute a novel when what is needed is potable water, enough healthy food, more medical supplies, and safer buildings? What is the point of fiction when reality is so pressing?
Invariably I am reminded that stories have power. Because it’s not just our physical needs that need to be met in this life. We need to know that we are not alone. We need to be reminded that restoration and redemption are possible. We need to remember what hope feels like. We need to believe that there is another future for us beyond our current situation. We need to dream. We need to encounter the divine.
Fiction can be an escape, but it’s more than that. It’s about processing reality. When we dream our mind is working to process bits and pieces of our waking life, to categorize and make sense of all that we experience. In the same way, fiction processes the experiences of all of humanity. It collects and observes, it arranges and interprets, it posits and enacts. Fiction is the REM sleep cycle of real life.
So, writer, whenever you or others are tempted to dismiss your creative work as a pointless extravagance, a waste of time in a world that needs concrete help and boots on the ground, remember that human beings are not flesh alone. We are flesh and spirit, living souls, created by God as part of his grand story and pre-wired for storytelling.
What can you do for the suffering person in addition to all the humanitarian efforts I listed above?
You can tell their story.
My agent’s blog is full of links to great content about writing, books, and creativity. And in the past couple weeks, she’s shared two items I want to share with you today — partly because they’re simply interesting and edifying, but also because once I’m done with revisions to The Bone Garden (the manuscript we intend to submit to editors first), I’ll be picking up I Hold the Wind again. And it so happens that I Hold the Wind is about books. Physical, printed, paper and ink books. And it’s about a bookstore. So I love reading things like Why the Printed Book Will Last Another 500 Years and listening to things like this:
Both give me the warm, fuzzy feeling of curling up on the couch under a blanket to enjoy a foray into another place and time. And both assure me that I’m not crazy.
For the past several years in my creative writing life, I have been developing a parallel world. It is not a huge departure from reality. It’s not fantasy or sci-fi. It’s not a world that you would not recognize. In fact, you may find yourself very much at home there. It’s a mere side step, the sort of shift you make to get out of someone’s way when they are moving faster than you’d like to move. It’s stepping off the sidewalk and onto the grass where it’s more interesting anyway.
This world is located in my very own state. Its cities and lakes and rivers and other features are all born from reality before they go through a subtle metamorphosis in my mind. And when they come out of my fingers, they are new. Because the writer of fiction does not merely record. He interprets. What to our eye may be a leaf of a certain shade of green becomes something more in fiction. Raindrops become tears, shafts of light become memories, birds become souls, forests become prisons, parties become battles, and folds of blankets become entire histories laid out in cotton.
It’s useless to attempt to keep the writer’s mind centered on what is. It is so much more satisfying to build what isn’t…yet. I’m readying a new manuscript for submission to agents that I can envision as the first in a series of three. I’m already developing the stories for the second and third. And yesterday, while I was driving my son to karate, the germ of a new story wormed its way into my mind. A different setting, but the same world, and connections to a character or two in this possible series of three. An expansion of the world I have been building in my mind and on paper. Nods to earlier work are winks to the loyal reader, an inside joke just for her.
I’m drawn to literary worlds like this. Wendell Berry’s Port William, Garrison Keillor’s Lake Wobegon, William Faulkner’s Yoknapatawpha County. Careers made largely by developing a parallel world and staying in it for decades, learning all of its secrets. Even the series we read as children carry shades of this — Madeline L’Engle’s stories of the Murry and O’Keefe families, L. M. Montgomery’s Prince Edward Island, even the world of The Baby-Sitters Club. Places and characters we didn’t want to leave.
I’d like my own fiction to be like that — stories you want to stay inside.
So I am building a world, street by street, field by field, house by house, character by character, secret by secret. And I’m more hopeful than ever that I’ll be able to share it with you someday.
Remember how I was so pleased in my last post to be able to work on something new? Well my brain swiftly switched gears back to something old. Something incomplete. Something festering.
Back on December 10, 2013, I wrote a blog post entitled Adventures in Shameful American History that discussed a number of cultural and historical realities I was struggling with as I completed research for a novel I was writing called The Bone Garden. It was before the deaths of Michael Brown and Eric Garner and Freddie Gray, before the unrest in Ferguson and the riots in Baltimore, before the massacre in Charleston.
In January and February of 2014, I wrote the first draft of a novel that turned out to be frighteningly timely. It traces the race relations within several generations of one white family, from auspicious beginnings as participants in the Underground Railroad, to a mixed bag of love and hate during the Civil Rights era, to a new reconciliation in the modern time. For the next year, I worked hard on that novel, revising it multiple times, editing it to a high gloss. But there was always a problem with the modern-day timeline. I fixed some of it, but it still never felt quite right to me. It wasn’t as good as it could be. Compared to the other two timelines, it seemed…too easy.
The day after the shooting in Charleston, I attended a prayer vigil at Union Missionary Baptist Church in Lansing, Michigan. The crowd was relatively small in number but great in spirit. There were mostly African American worshipers, but a fair number of white worshipers as well. The Spirit was moving and pain was released and anger was expressed and sorrow was felt. It was deeply emotional and raw.
Growing up in a white small town in the Lutheran church, I had never been part of a service quite like that before. I’m a Baptist since I married a Baptist pastor, but it’s not a “shoutin’ church,” if you know what I mean. It’s not a charismatic congregation. It’s pretty tame. But I have been privileged to join together with other churches in the city every year, usually during Holy Week, to worship together. Stiff white Methodists and shouting black Baptists and proper Presbyterians and calm Congregationalists, all worshiping together. These have been some of my most memorable times in the house of God.
Even so, this prayer vigil was qualitatively different. It was a lament.
I drove away from that service with a heart that was still heavy. Yes, I believed God would give comfort to the bereaved. But it still happened. There was still a terrible racist person who murdered nine people, including some in their seventies and eighties, for no reason other than his idiotic, misguided, backward, reprehensible beliefs. Beliefs that were taught. And are taught. All over the place. Still.
And I realized what bothered me about the modern-day storyline of The Bone Garden. It wasn’t true. Fiction — good fiction — tells the truth. And I wasn’t doing that. I wanted my modern day white characters to be better than their fictional predecessors. But they aren’t. Yes, some are more understanding and more accepting and more loving. But others are not. They cannot be. Because Dylann Roof exists. Thousands of Dylann Roofs exist, and more of them are being trained up every day. And I do a disservice to the truth to ignore that when writing this story.
So I’m back at it, working hard to make things real. No matter how difficult it is for us to stomach. We look back at our parents’ generation and think that we are better than them. We would never support segregation or turn the other way when peaceful marchers were set upon by dogs and attacked with fire hoses. We would never have let 100 years pass between the Emancipation Proclamation and Selma.
But is that the truth? Obviously not. That Confederate flag flying high in South Carolina? It’s not down yet.
Almost four months ago to the day, I wrote this post about my rather unsatisfying writing vacation at Gun Lake, where I had hoped to finish a good first draft of my current WIP, but only succeeded in getting lots of words down on the page that I knew I’d have to fix later. I’ve been picking away at it on and off since then, adding layers and altering plot lines and deepening characters. And I am happy to be able to say that it is now ready for my first beta readers’ critiques. It feels so good to not only have it finished, but to be happy with it. I’m not truly done, of course. Once I get feedback from a few readers I’ll have plenty to edit. But the first big hurdle — writing the dang thing — has been cleared.
In reaching The End, there is a loosening of something that had been wound tight in my chest, a liberating sensation that I am now free to work on a new story, one that has been forming in my mind for weeks, like a flock of birds ahead of winter’s snows. After all, The End is really just the beginning of something new…