I’m not British, but I’ve always liked that word. It’s both vivd and precise about the condition it’s describing. So at the risk of sounding a bit affected, I will admit that I am completely gobsmacked to learn that The Heavenly Fox is a finalist for the Mythopoeic Fantasy Award in the Adult Literature category.
Yep. Gobsmacked.
“I never plan things. I start writing them, and it’s like a magician forces a card on me. ‘Pick a card!’ I couldn’t start it if I knew what I was going to do.” – William Gibson
I’ve said it before in a slightly different context, but now it’s time to explore the idea to its logical conclusion. So repeat after me: “I’m a writer. And I don’t know what the hell I’m doing.”
I’ve talked about “foxes and hedgehogs” to compare and contrast different approaches to writing. Today I want to talk about different approaches to process. Specifically: how do you begin? As with the whole fox/hedgehog metaphor there are no absolutes, but there is a spectrum, and we tend to gravitate toward one end or the other. In short, to begin a project we either tend toward Order or Chaos. Continue reading
These are the afterwords/author’s notes I wrote for the stories in my second collection, Worshipping Small Gods. They didn’t appear in the actual book for two reasons. 1) There wasn’t room and 2) They hadn’t been written yet. I think the second reason is probably the one that matters. Some readers are interested in this kind of thing, some aren’t. If you fall in the “aren’t” category, you can bail now. Fair warning. Continue reading
“Murdering Your Darlings.” Yesterday the subject came up in the context of cutting good material that nevertheless no longer belonged in the story you’re working on. That is, the case of a paragraph or page of chapter which is well-written, interesting in its own right, perhaps even particularly fine, but neither advances the plot nor reveals character. In other words, it’s just not pulling its weight, therefore it’s adding weight and slowing your story down. It has to go. That’s often the sense in which that phrase is used today, but it occurs to me that, originally, the phrase meant something a little different.
“Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—whole-heartedly— and delete it before sending your manuscript to press. Murder your darlings. ” — Sir Arthur Quiller-Couch
“Read over your compositions, and where ever you meet with a passage which you think is particularly fine, strike it out.” — Samuel Johnson
The rationale hasn’t really changed; the premise is that the material just doesn’t belong. Yet the subtext is that the material doesn’t belong in your story for the sole reason that it is especially fine. That is, the passage calls attention to itself rather than serving the story, and at that point it no longer belongs. There’s truth in that. For a story to work the voice and tone need to be consistent, or at least in some sort of harmony. A passage that is so clearly out of place can jolt the reader out of the story, remind them that they’re reading and not really experiencing, and the risk is that the whole structure then collapses like the construct of shadows and mist and mirrors that it actually is.
So you murder your darlings. It’s good, tried and true advice…so far as it goes. I’m going to be a teensy bit contrarian here, and suggest that, like all advice–good or otherwise–sometimes it’s just full of crap. Continue reading
Other than the more affected pronounciation? Beats me. Memes are only sometimes silent and not always annoying, whereas….
Ahem.
In honor of and surrender to all the memeage floating around from now to Doomsday, I will reluctantly answer five questions that nobody asked:
1) Never
2) Once, but I was still at the “hormones with feet” stage (college). And I’d been drinking.
3) Poetry.
4) A raven.
5) Parke Godwin, Ray Bradbury, Fritz Leiber, Ursula LeGuin, Peter Beagle and Andre Norton.
There. Done now.
Richard Parks 