Writer’s Desk: Know When to Walk Away

Alexander Grothendieck (1928-2014) was one of the most important mathematicians of the twentieth century. When Fermat’s Last Theorem was finally solved in 1994, it was only because of what Grothendieck had discovered about algebraic geometry.

But he was not just a numbers guy. Like many mathematicians, he was primarily a problem-solver. He loved it. Not only that, he understood it on a more fundamental level than most people ever do.

According to Rivka Galchen’s fascinating profile, Grothendieck compared problem-solving to dealing with a hard nut:

You could open it with sharp tools and a hammer, but that was not his way. He said that it was better to put the nut in liquid, to let it soak, even to walk away from it, until eventually it opened. He also spoke of “the rising sea.” One way to think of this: there’s a rocky and difficult shore, which you must somehow get your boat across. There may be a variety of ingenious engineering feats that can respond to this challenge. But another solution is to wait for the sea to rise, providing a smooth surface to cross effortlessly…

Think of this the next time you come up against a seemingly unsolvable problem in your writing. Paragraph isn’t gelling or the plot isn’t making sense? Walk away for a bit. Come back and work at it but just a little. Don’t think you can solve the problem in one big go.

Wait for the sea to rise and the answer will present itself.

Writer’s Desk: Choose the Right Words

In 1988, Nobel Prize-winning poet and onetime Soviet dissident Joseph Brodsky gave the commencement speech to the University of Michigan. In the wide-ranging address, he dispensed an array of life’s wisdom, including be nice to your parents and avoid putting too much trust in politicians.

More to the point, he reminded his audience to choose their words well:

Treat your vocabulary the way you would your checking account.

Writer’s Desk: Channel Your Emotions

The prolific and beloved poet May Sarton was an emotive, careful writer who seemingly never published a line that had not been weighed, judged, fully understood, and buffed to a high sheen.

Given her attention to both raw inspiration and careful editing, she had a lot to say about the art of poetry that can apply to almost any kind of writing.

In Writings on Writing, she references Valery and what he said about the inspiration or “the intense feeling” that generates a piece of work. She throws a little cold water on the idea of some great rush of emotion driving the creation of art:

A true poem does not begin with a feeling, however compelling, and of course we feel a great many things that never become poems.

Instead, she argues, the writing comes from that collision of a feeling with something else:

A poem emerges when a tension that has been something experienced, felt, seen, suddenly releases a kind of anxious stirring about of words and images … the energy that was absorbed in experience itself, now becomes an energy of an entirely different kind, and all that matters is to solve the sort of puzzle, the sort of maze in which certain phrases, and a certain rhythm lie around like counters in a game of Scrabble.

Without emotional inspiration, there would be little writing, or at least not much worthwhile writing. But that inspiration needs channeling and puzzling out before it can be fully formed and live on the page.

Writer’s Desk: Learn from the Pros

I covered three new books about writing (how to do it, why do it) for the Minneapolis Star-Tribune. You can read the whole piece here.

Generally it’s not a great idea for writers to spend too much time reading about how to do their work. Better to just dive in and do it.

But sometimes, especially when you are stuck, it helps to see how some other writers break through that wall. Matt Bell’s Refuse to Be Done is a great handbook for this kind of thing. He is inspiring but also a realist, overflowing with numerous tips for hitting your deadlines and producing solid work.

The real recommendation here, though, is the anthology How to Write a Mystery. It is obviously very specific to its genre. But the book is truly a treasure trove of incredible and practical advice that can not just help any writer work through problems in their story but feel excited about doing it.

Hard not to love a book from an organization whose motto is, “Crime doesn’t pay. Enough.”

Writer’s Desk: Write Badly

Making art of any kind generally involves granting yourself permission. This can take many forms. Allowing yourself to fail, to be criticized, to bare your soul.

According to Barbara Kingsolver (The Poisonwood Bible), novel writing is not that complicated. She provided some tips to Publishers Weekly:

To begin, give yourself permission to write a bad book. Writer’s block is another name for writer’s dread—the paralyzing fear that our work won’t measure up. It doesn’t matter how many books I’ve published, starting the next one always feels as daunting as the first. A day comes when I just have to make a deal with myself: write something anyway, even if it’s awful. Nobody has to know. Maybe it never leaves this room! Just go. Bang out a draft…

Of course, “bang out a draft” is harder than it sounds. But breaking it down like that can get some people over their anxiety. Put the words on page. They don’t have to be good. Just get something down. Bad pages can be improved.

Writer’s Desk: Ask, But Don’t Answer

At a recent panel for the American Booksellers Association, several novelists discussed “Storytelling in the Cultural Moment.”

Several themes were played with, including the idea of how to play with a “rupture” in your story. But one particularly salient point came from Jennifer Egan on the topic of curiosity:

Fiction for me is about asking questions and not answering them…

It’s a harder rule to follow than you might think.

Writer’s Desk: Find Perfection in the Little Things

The polymathically prodigious Samuel R. Delany (who turned 80 this week) published several novels by the time many people have yet to graduate from college, re-orienting the entire field of science fiction just as it was entering its great period of 1960s experimentation. He kept that going for decades, knocking out everything from space opera to dystopia to memoir.

In a recent piece for The Yale Review, Delany tried to answer the question of why he writes. He had several takes, ranging from wanting to read the books he could not find, to because it was fun, to enjoying the erotic imagination, and dealing with the certainty of death.

But one of his most salient points comes in this anecdote about Michelangelo agreeing to take an art-besotted baron to a tavern where all the artists hung out:

After three evenings, the lord said, “But all I hear among these men is talk of stone and chisels and files, gesso and tempera and pigments. I expected to hear talk about beauty, the truths that we learn when we gaze up at their works, the perfection that they create for us. Why do they waste their time talking about these trifles?”

Michelangelo answered, “But perfection is the sum of trifles, and perfection, my lord, is no trifle!”

Nearly everything writers do, from researching conversational patterns in nineteenth-century Turkey to deleting commas, is in a way trivial.

But that’s the only way to get close to perfection.

TV Room: ‘Slow Horses’

The new Apple TV series Slow Horses is an adaptation of the first entry in Mick Herron’s superbly semicomic spy novels. It stars Gary Oldman and Kristin Scott Thomas and premieres this Friday.

My review is at Slant:

The six-episode series at times recalls The Americans, with which it shares an executive producer, Graham Yost, and an appreciation for the workaday realities of spies’ tradecraft, as well as a tendency to resort to sudden bloodletting. Slow Horses similarly breathes life into a somewhat moribund genre due to its grumpy antihero, Jackson Lamb (Gary Oldman), and the nontraditional gaggle of spies whom he has to rely on to save the day…

Here’s the trailer:

Writer’s Desk: Maybe Change the World?

Comics legend Alan Moore (Watchmen, From Hell, League of Extraordinary Gentlemen) has a writing tutorial now on BBC Maestro, which looks absolutely fantastic. Moore is an expert at weaving together numerous characters and overlapping dramatic arcs inside complex and frequently historical settings while still maintaining clarity and momentum. Not an easy feat.

On top of that, he wants to focus not just on mechanics, but the larger picture. Namely: What can writing accomplish?

You should remember that a writer can change the world. Think of the books that have completely changed human history. See yourself in that light. Because if you are a writer, then you are having an effect upon human history…

Aim big.

Writer’s Desk: Go Easy On Yourself

The lure of the writer’s life can be hard to resist. Tabitha Blankenbiller writes movingly in Catapult about its attraction and the difficulties of giving up the dream. Here she describes the recognizable zeal that overtook her in her MFA program:

I devoured the foundational texts: Bird by Bird, The Liars’ Club, The Elements of Style. They’re what pushed me to write page after page each night no matter how hard my day job tried to wring the soul out of me. Each paragraph, each new essay draft, each exchange with my advisor was microscopically better than the one that had come before it. And the act of doing this work as ritual, as necessity, saved me. There was no longer a question of what I would do with my life…

She became a writer. She placed pieces in a wide array of respected publications (The Rumpus, Tin House) and eventually published a book. Which is more than most of us can say. But eventually things caught up with her. The never-ending hustle to get notice, to get an agent, to climb the ladder of literary notice, it all takes a toll, especially when you add the grind of everyday life to it.

Then she learned how to take a break.

I did not write for days, weeks, months at a time. The further I drifted from the epicenter of that world, the less it defined me. I sat with questions I wouldn’t have admitted before for fear of cursing myself: What if I never write another book? What if I only create what I want, when I feel compelled, for no other reason than I have something I have to say?…

And the world did not end.

Reader’s Corner: ‘We Don’t Know Ourselves’

Born in Dublin in 1958, journalist Fintan O’Toole grew up in Ireland just as the country was shaking off (or, more often, not) the bonds of pre-modern theocracy that kept them in the past. His “personal history” We Don’t Know Ourselves tells how a country tried to enter the modern world without losing its soul. It’s fantastic.

My review is at PopMatters:

Protectionism—moral, cultural, and economic—kept new ideas and products out. In what O’Toole calls a “bitter paradox”, Ireland was then “an agrarian economy that was actually not much good at producing food.” Education was primarily limited to the well-off, keeping business and farming relatively primitive. In a comical but illustrative moment, Irish bishops refused an American offer through the Marshall Plan to create a National Institute of Agriculture to modernize farming because “it would not have a proper basis in religious doctrine.” Ireland’s stagnation produced despair, waves of emigration that threatened to empty the island completely, and one very good joke that made the rounds: “The wolf was at the door, howling to get out”…

Writer’s Desk: Make Things Up to Get By

Writers go through hard times like anybody else. For some, their writing can then become a slog. When things are bad, many of us like to escape from ourselves. And when you are sitting alone, hour after hour, plumbing your thoughts for new insights and plot points and similes (“The fresh-risen sun painted the sky like a…”), it feels like you cannot get away from yourself.

In her new book Never Say You Can’t Survive, author Charlie Jane Anders (who wrote the fantastic sci-fi novel The City in the Middle of the Night) has some suggestions about what to do when things are miserable, starting with how she coped with what she calls her “hell-year” of 2020:

… dreaming up imaginary worlds and larger-than-life people who never lived.

Just as reading can transport people, writing can take us out of ourselves. Anders goes on:

You never stop learning how to do better at writing—even if you’ve published a bunch of books and “arrived” as an author, you’re still on a steep learning curve, for as long as you’re stringing words together. This is excellent, because it means there will always be new discoveries and insights. Put another way, if writing was a house, you would never run out of rooms to explore…

Exploring beats wallowing.

Writer’s Desk: Characters Need to Change

When Dan Harmon was first attracting notice as the creator of the cult sitcom Community, he also frequently expounded on his ideas about story creation. In large part, the narrative framework he crafted drew in self-acknowledged fashion from Joseph Campbell, but dealt more with writerly needs (establishing audience interest, etc.).

The gist of his story structure is here:

  1. You (a character is in a zone of comfort)
  2. Need (but they want something)
  3. Go (they enter an unfamiliar situation)
  4. Search (adapt to it)
  5. Find (find what they wanted)
  6. Take (pay its price)
  7. Return (and go back to where they started)
  8. Change (now capable of change)

It is really worth digging into Harmon’s explanations of each step. But the most interesting aspect comes at the end, when your protagonist does something they never would have done at the start of the story. This is because of something they learned along the way:

Remember that zippo the bum gave him? It blocked the bullet! It’s hack, but it’s hack because it’s worked a thousand times. Grab it, deconstruct it, create your own version…

Writer’s Desk: Don’t Give Up

You are writing a story. Things are coming together. You can see the ending. Not only that, you can feel the ending. And it’s going to be great.

But. There’s that one section that just is not working out. It feels awkward. Forced. Fake. You start to worry the whole endeavor is doomed.

Not so fast, writes George Saunders in LitHub:

A rough patch in a story is not an error or a defect or evidence of our lack of talent or proof that we are imposters, missing some essential frequency being broadcast from Story Central. It’s an indicator that our heroic, brilliant subconscious is working out a problem as it stumbles towards beauty, and is asking for our help, and what it needs for us to do, just now, is have faith. And wait. And, while we’re waiting (as an active form of waiting), keep revising (revising that bit and everything around it). Be O.K., for now, with its apparent imperfection (which is actually just a momentary lagging behind). Keep coming back to that place, with affection and hope, until it relents and pops into clarity…

A bad stretch of writing is not necessarily bad, just unformed.

Chisel away.