How I wrote my latest novel, part 1
I’ve wanted for a while now to try writing a story “live” here, posting my work as I went from initial idea to finished piece. I might still do that, but for now, here’s a related series of posts. I spent the past forty days writing a new novel (“Lisa & Charlie & Mark & Suzi & Monica & Tyrell,” though my working title was “The Porn Novel”), and want to share with you how I did that. My hope is this will prove less an exercise in vanity and more something instructive—like, you might want to do the exact opposite of me.
Let me state up front that I don’t think there’s any one way to write novels, or fiction, and I don’t approach all of my projects in the same way. And what works for me may not work for you. But I have developed some basic procedures that I find useful and that you might enjoy trying. Also, this time around, I encountered some formal problems that should make for good discussion.
I write pretty quickly, but forty days is the fastest I’ve written a novel. (This is the third one I’ve really completed.) My first novel, Giant Slugs, took nearly a decade from start to finish, during which time I wrote three completely different versions of the book. That experience was, on the whole, difficult and often mystifying. Only in the final two years, when I wrote the final version of the novel, did I feel as though I understood what I was doing, and even then I felt crazily out of control most of the time. I had by then a Master’s in Creative Writing, but never received much instruction in novels, so I had to figure out a great deal on my own. (Perhaps that’s inevitable?)
I wrote my second novel, “The New Boyfriend” (still unpublished) as an anti-Giant Slugs: whereas GS is a mock-epic with dozens of characters and locations, covering several years, “TNBF” is a single scene featuring four characters, set in a single location on a Sunday afternoon/evening. That project took me seventy-five days total, which taught me that time is a resource, and some projects take less of it than others. I’m sure I’ll return to more time-intensive projects later, but for now, I’m having fun sprinting.
Recently I’ve wanted to try writing a novel in one month, and when I dreamed up this new project, it seemed a good candidate for that. (And, no, I’ve never done NaNoWriMo, though I have done the 3-Day Novel Contest about six times. I learned a lot from doing the 3-Day, but never produced what I’d consider a finished novel.)
A bit more on Susan Sontag and “Against Interpretation”
I’m still bogged down with school (almost done) but I thought I’d throw a little something up, pun intended. Two months ago I wrote an analysis of Susan Sontag’s “Against Interpretation” where I argued that, rather than being opposed to all interpretation, as some believe, Sontag was instead opposed to “metaphorical interpretation”—to critics who interpret artworks metaphorically or allegorically. (“When the artist did X, she really meant Y.”) I thought I’d document a few recent examples of this—not to pick on any particular critics, mind you, but rather to foster some discussion of what this criticism looks like and why critics do it (because critics seem to love doing it).
The first example comes from Chicago’s Museum of Contemporary Art, in particular the exhibit “Destroy the Picture: Painting the Void, 1949–1962” (which is up until 2 June). One of the works on display is Gérard Deschamps’s Tôle irisée de réacteur d’avion (pictured above, image taken from here—I didn’t just stretch out a swath of tinfoil on my apartment floor). The placard next to it reads as follows:
Quilts of America
Yesterday I went to the Brooklyn Museum to see the exhibition “Workt by Hand”: Hidden Labor and Historical Quilts.
Quilts are awesome.
Some are scary, like this one.
This one too. It’s also abstract/minimalist.
Some are accidentally abstract.
This one has a horse on it
in which Lily teaches a class on a whiteboard
This is what happened in my grad Form & Technique in Fiction class today:
Here is how it happened. Every Wednesday, students read articles and essays that are NOT fiction. Last class, they read & we discussed a unit I called “The Human Body,” which included the following texts: Dong et al, “Unilateral Deep Brain Stimulation of the Right Globus Pallidus Internus in Patients with Tourette’s Syndrome”
(from The Journal of International Medicine); Grahek, Feeling Pain and Being in Pain, “Ch. 1: The Biological Function & Importance of Pain”; Ramachandran, Tell-Tale Brain, “Ch. 3: Loud Colors and Hot Babes: Synesthesia”; and
Scarry, The Body in Pain, “Ch.3: Pain and Imagining.”
A Brief Report on Denver Coffee Shops
I sometimes joke that I became a writer so I could justify spending all my time in coffee shops (despite what Tom Waits said about them). When traveling, I always seek out new ones where I can do some writing. I’ve been in Denver since Xmas Day, during which time I’ve managed to sample about half a dozen places.
The nicest one I’ve found, by far, has been the Denver Bicycle Cafe (which is where I wrote this, on my second visit there). If I lived in town, this would definitely be one of my writing hangouts.
Professor X’s Magic Yellow Wheelchair
Dear HTMLGIANT, today sees me researching Professor X’s wheelchairs for a disability studies paper that I’m writing. In particular, I’m looking for information on the magical flying yellow one that he was given by the Shi’ar Empire (I think?) in the early 1990s—the one designed by Jim Lee. If anyone can direct me to any documents describing this fabulous device, I would be most grateful. (Yes, I am trying to figure out its capabilities, including whether it housed missiles, etc.)
So far, this site is the best I’ve been able to find. It says there:
This high-tech chair was a gift from the alien Shi’ar. Over the years, its appearance has varied a bit. Both gold and silver versions have appeared and some models have been slightly sleeker than others. [X-Men (1st series) #125]
In other words, not much. (Incidentally, that citation should be X-Men Vol. 2 #125, aka New X-Men #125. Part of what’s so maddening about researching the X-Men is how many different series there have been, and how many times those series have been retitled.)
Again, any help, much appreciated. Otherwise, feel free to chime in with your favorite memories/anecdotes/conspiracy theories regarding Marvel’s Merry Mutants.
Pig
This is a pig.
It cannot be caught by an eagle, only a raven or a falcon.
The sound that it makes is “hut hut hut.”
Back to Grad School
I used to blog here about getting an mfa in creative nonfiction, but since I finished classes there’s nothing much to report other than I am working on my thesis. Sasha Fletcher, however, just began his mfa in poetry and he’s writing about it over at his blog. He’s got the talented and lovely Sarah Manguso for workshop, Timothy Donnelly for a poetry craft seminar, Marjorie Welish for 20th century experimental poetry, and a lecture from the adorable Richard Howard titled “The Beginning of the End.”
Expect me to crash the guest lectures while I’m still in the city. Hopefully they’ll be as memorable as the Joyce Carol Oates one last semester.