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On Writing

On Writing, Thoughts on Writing

The Work of Writing

November 14, 2011

 

Anthony Trollope, "Novel Machine"

One author writing about Victorian novelist Anthony Trollope – one of the most successful writers of his day – called him a “Novel Machine.” 

Trollope’s first novel was published in 1847 while he held a full-time job as a post office civil servant. For the next 20 years, while remaining in his full-time job, he was able to produce at least a book a year and sometimes three. During his lifetime, he penned 47 novels and 16 additional books.

Trollope woke up every day up at 5:30 am and had a cup of coffee. he would then read what he had written previously for half an hour, then he would write for the next two and a half hours. His output was 1000 words per hour. In two and a half hours, he produced – about 10 modern manuscript pages a day. This, Trollope wrote, in his autobiography, “allowed me to produce  over ten pages of an ordinary novel volume a day, and if kept up through  ten months, would have given as its results three novels of three  volumes each in the year.”

Today, most of us admire these workmanlike habits. What is fascinating, however, is that when Trollope’s Autobiography was published posthumously, after his death in 1882, his reputation took a nosedive. Why? Because Victorian literary sensibilities were taken aback by an author whose means of producing work were apparently so mechanical. Victorian critics felt true poets and authors produced work in the throes of “inspiration.”


The Victorian sentiment is often subtly promulgated by Hollywood – how many scenes have we seen where a writer writing is clearly rapturously transported by his/her work? Okay, it happens. But waiting for “transport” can be like waiting for Godot.


Stephen King was once asked what was the secret of writing success. His answer: “Bum glue.” (Bum here being the British word for the part of your anatomy that needs to be parked in front of a word processor for a good chunk of time in order to produce a manuscript.) Hmm, why does it not surprise me that Stephen King has been prolific too?

On Writing, Thoughts on Writing

What a Critique Group Can and Cannot Do for You

November 6, 2011

 

Here are some of the benefits a critique group can offer a writer:

  • Valuable feedback – When your writing is fresh on the page, it’s sometimes difficult to judge its merit. Critique group partners can give you the benefit of a reader’s objective perspective on your work.
  • Valuable suggestions – Members in your group can point out weak spots and problem areas in your work, and may suggest resources – books, software, contacts, etc. – of which you were not aware.
  • Accountability – Your group will meet regularly – weekly or monthly, or somewhere in between. As the point of the group is to share work and invite comments and feedback, these regular meetings provide you with an added impetus not to procrastinate.
  • Encouragement – Good critique group partners provide honest feedback but do so in a way that encourages further effort.
  • Camraderie – Writing is a solo profession. It’s you and the blank sheet of actual or virtual paper. Meeting with a critique group alleviates that. Critique group partners can validate you as a writer even before you get published.
  • Speeding Your Trajectory to Publication – You aren’t working solely on the basis of trial and error any longer. For me, this is the key benefit of a critique group.


What a critique group cannot do for you, and what it is unfair to expect:

  • Editing and book doctoring – That is what professional book doctors, editors and ghostwriters are paid to do. Critique group partners can comment on your work, and point you in the right direction. But the decision-making responsibility regarding specifics of plot and structure, and the time-consuming heavy lifting of actually working through a novel or short story remain with the author.
  • “Thinking through” your story lines and all of the other issues associated with creating a fictional world in specific detail – This includes theme, setting, characterization, etc.


Critique group partners may and should offer suggestions to address any problem areas of your work you wish to discuss or which they bring to your attention. At times, a partner might suggest something that works beautifully as a specific or key fix for a problem area. But at other times, they may only bring your attention to an issue and you will have to think through how to fix it.

Your critique partners are not being grudging if they do not always offer specifics, by the way. It’s just that writing is thinking, and your particular story issue may need research, careful analysis and consideration; or, it may even need to be “put on a backburner” for your subconscious mind to work on and to come up with that perfect creative solution. Resolving story issues like this are part of the challenge – and the exhiliration – of writing!