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You've published twelve novels and a book of short stories. What prompted you to turn to a non-fiction work about creative writing?
Having taught creative writing for a number of years, I came to see that students enrolled in my classes largely to be critiqued on what they'd already written. The problem with their approach was that they started writing their novels or short stories before they had any fundamental knowledge of craft. It was tough to give them useful criticism about things like narrative voice, point of view, subtext, attitude, or anything else because they didn't know what those elements of craft were in the first place. So I began teaching craft. And they begain asking me to "put it all in a book." That I finally had time to do between writing my last novel, A Place of Hiding, and doing the research for my current project.
There are so many books about writing in the market place already. What makes this one different?
Funny you should say that because I almost didn't write the book for that very reason. But I think that there are several things making Write Away different. A lot of writing books chose a singular approach: A writer might explain her own approach to the craft, for instance. Or she might mingle her approach to the craft and use excerpts from fine writers as examples. What I've done in Write Away is to combine an explanation of the elements of craft with examples from fine writers, a bit of memoir, excerpts from my own writing, illustrations from my own process, and excerpts from the journals I keep during the writing of each novel. In other words, Write Away combines all the approaches used in attacking the topic of creative writing.
Who is the potential buyer of the book?
I see this book as having a large audience comprising creative writing students in high schools, colleges, universities, and MFA programs. But I also see it in the hands of fiction readers who might enjoy an insider's look at the creative process. Fans of my novels will doubtless be interested to know how an American puts together a series of novels set in Great Britain, too. Finally, anyone who wants to know what it's like to be inside the head of a creative artist might like to take a look at Write Away.
Where did you even begin to get the information you use in Write Away?
Over the years I've had to look at my craft and figure out what it is that I'm doing in order to be able to explain it to my students. I've become pretty adept at taking my creative process apart and examining it like a scientist in order to see what works and what doesn't work for me. But I've also looked at what other teachers have to say about writing as well, and those people are referenced in Write Away for students who wish to pursue more information.
Writing is really all about just doing it, wouldn't you say? So realistically, to what use can a writer put a book like this?
I believe that a writer needs to operate from a position of strength and knowledge when trying to create a novel. Information is knowledge. Tools are strength. What Write Away does is to supply the writer with a fallback position, giving her a resource to turn to in any of the stages of the creative process. More important, though, Write Away demystifies the creative process because it differentiates between art and craft.
In what way?
The book argues that there are two distinct components to creative writing: art and craft. The craft comprises the tools available to the writer in the form of knowledge of plotting styles, methods of character analysis, ways to move from the idea to outline, etc. The art comprises how someone actually manipulates language to achieve a beautiful and seamless piece of prose. Craft is available to anyone who wants to put in the time and effort to learn it and perfect it. Art -- the sensibility of the artist -- is part of what someone is born with. The first can be mastered without too much trouble; the second is far tougher to get a handle on.
Does the book deal with both?
Yes, but the emphasis is on craft. My advice about art has to do with exposure. The more good books a writer reads, the better she writes.
Really, though, why should someone buy yet another book on writing?
Well, of course if someone who wants to write novels is doing nothing but buying books about writing novels, she should probably rethink her methodology! But it's important for each writer to develop her process -- the approach that will work for her -- and if a writer out there has not yet managed to develop an approach, this book will give her another means of doing so. And that is critically important, as far as I'm concerned.
What should you say in conclusion, then, to booksellers and book buyers?
Just that I hope they enjoy reading Write Away as much as I loved writing it. You know, as far as I'm concerned, there's nothing on earth like writing a novel. Nothing else is as simultaneously challenging and satisfying. Nothing even comes close.
Am I kidding myself about being a "creative artist"? Can I possibly be a creative artist if I approach this effort in so methodical and left-brained a fashion?
Journal of a Novel,
June 25,1997
A large piece of Plexiglas covers the top of my desk. Beneath this shield, I keep bits and pieces to serve as inspiration or to cheer me up in those moments of bleak despair when I'm wondering why I've taken on one difficult project or another. Among these items I have a copy of John Steinbeck's letter to Herbert Sturz on the subject of The Grapes of Wrath -- I find his comments about critics particularly smile-producing -- as well as pictures of my dog, of myself grinning inanely alongside a wax effigy of Richard III from Madame Tussaud's waxworks in London, and several quotations from writers on one subject or another. One of those writers is Isaac Bashevis Singer who, in an interview with Richard Burgis in 1978, said the following:
When people come together -- let's say they come to a little party or something -- you always hear them discuss character. They will say this one has a bad character, this one has a good character, this one is a fool, this one is a miser. Gossip makes the conversation. They all analyze character. It seems that the analysis of character is the highest human entertainment. And literature does it, unlike gossip, without mentioning real names.
The writers who don't discuss character but problems -- social problems or any problems -- take away from literature its very essence. They stop being entertaining. We, for some reason, always love to discuss and discover character. This is because each character is different and human character is the greatest of puzzles.
That's where I want to begin, then, in laying the foundation for my exploration of craft: with character.
Not with idea? you may ask, aghast. Not with where a writer gets ideas? What a writer does with ideas? How a writer molds ideas into prose?
We will get to that. But if you don't understand that story is character and not just idea, you will not be able to breathe life into even the most intriguing flash of inspiration.
What we take away from our reading of a good novel mainly is the memory of character. This is because events -- both in real life and in fiction -- take on greater meaning once we know the people who are involved in them. Put a human face on a disaster and you touch people more deeply; you may even move them inexorably toward taking an action they might have only idly contemplated before that disaster was given a human face. Munich '72, the Achille Lauro, Pan Am 103, Oklahoma City, 9/11 ... When these tragedies become human by connecting them to the real people who lived through them or died in them, they become imprinted indelibly on the collective consciousness of a society. We start with an event as news, but we almost immediately begin asking Who? about it.
It's no different with fiction. The trial of Tom Robinson is maddening, disturbing, and heartbreaking in its injustice, but we remember the trial long after it's over because of Tom Robinson's quiet dignity and because of Atticus Finch's heroic representation of the man, knowing all along that his client is doomed because of the time, the place, and the society in which they both live. To Kill a Mockingbird thus rises to the level of timeless, classic literature not because of its idea -- the innocence of childhood set into an ugly landscape of prejudice and brutality -- but because of its characters. This is true of every great book, and the names of those men, women, and children shine more brightly in the firmament of literary history than do the stories in which they operated. Elizabeth Bennet and Mr. Darcy, Jem and Scout Finch, Captain Ahab, Hester Prynne, Sherlock Holmes, Heathcliff, Ebenezer Scrooge, Huckleberry Finn, Jack-Ralph-and-Piggy, Hercule Poirot, Inspector Morse, George Smiley, Anne Shirley, Laura Ingalls ... The list can stretch from here to forever. With the exception of the last, not a single character is a real person. Yet all of them are, because the writers made them so.
Once we have begun it, we continue reading a novel largely because we care about what happens to the characters. But for us actually to care about these actors in the drama on those printed pages, they must become real people to us. An event alone cannot hold a story together. Nor can a series of events. Only characters effecting events and events affecting characters can do that.
I try to keep some basic guidelines in mind when I'm creating my characters. First, I try to remember that real people have flaws. We're all works in progress on planet Earth, and not one of us possesses physical, emotional, spiritual, and psychological perfection. This should be true of our characters as well. No one wants to read about perfect characters. Since no reader is perfect, there is nothing more disagreeable than spending free time immersed in a story about an individual who leaps tall buildings of emotion, psyche, body, and spirit in a single bound. Would anyone want a person like that as a friend, tediously perfect in every way? Probably not. Thus, a character possessing perfection in one area should possess imperfection in another area.
Sir Arthur Conan Doyle understood this, which is one of the reasons that his Sherlock Holmes has stood the test of time for more than one hundred years and counting. Holmes has the perfect intellect. The man is a virtual machine of cogitation. But he's an emotional black hole incapable of a sustained relationship with anyone except Dr. Watson, and on top of that, he abuses drugs ...