The Loneliness of the Long-Distance Writer #5

23rd February 2012
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3 min read
Edited
8th December 2020

It took me six years to finish the first draft.  I’d set myself a target of completing it in time for my father’s 80th birthday.  I made it, but only by dint of writing non-stop during a family holiday.

It is finished ... not

It took me six years to finish the first draft.  I’d set myself a target of completing it in time for my father’s 80th birthday.  I made it, but only by dint of writing non-stop during a family holiday.

Among the early questions posted was one about Writer’s Block.  Well, I never had it as such, although there was a massive obstacle I had to confront.  The heart of the book was the events leading up to, during and immediately after the Holocaust.  I was, perhaps understandably, nervous about doing this.  There would be many opportunities to go badly wrong.

But I had always assumed that the book had to be written chronologically.  I was wrong in this, and got some inspiration from a pretty obscure source.  One of my favourite books is a Proust-length novel by the French Nobel Laureate, Romain Rolland.  Jean-Christophe is the life of a fictitious composer.  Rolland’s own biographer, the wonderful Stefan Zweig explained that he wrote this 10-volume novel (if memory serves) episodically, rather than linearly.

This was a real breakthrough.  It meant I could write around the central section and then come back to it, rather than await inspiration before progressing.  This liberated me to write episodes from his later life while they were fresh in my mind without waiting for ‘their time’, so to speak.  So the last – most challenging – part, the epicentre of the storm that befell my hero, was actually written during a blazing Mediterranean summer.

But of course it wasn’t finished.  Yes, I got a printed draft wrapped up in ribbon for my dad but that was, in many ways, a mirage, a cruel deception, of completion

Because the haunting then began.  I’d lie there thinking about the book generally.  Sometimes, gaping holes appeared in the narrative.  On other occasions, new avenues of possibility opened up that made sense psychologically or chronologically.

In short, what I found was that that Churchill’s famous quote about El Alamein (Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning”) rang with great carillons of truth.

And then began the biggest question of all.  What the hell do I do now?

Ian Phillips is a freelance writer for businesses whose first novel, Grosse Fugue, will be published by Alliance Publishing Press on April 3rd.  He’s tweeting developments @Ian_at_theWord.

Writing stage

Comments

Cut off in my prime, there. Full post should have read:

Stravinsky said that it was contemporary music that would always be contemporary. I think that's absolutely spot on - except that so much contemporary music is unapproachable, if not actually impossibly inhospitable. Sir Thomas Beecham was allegedly once asked what he thought of Stockhausen, to which he apparently replied 'I've never conducted it, but I have trodden in it'!

Thanks for the Chekhov:Gorky exchange, Adrian. I loved it.

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26/02/2012

Stravinsky said that it was contemporary music that would always be contemporary. I think that's absolutely spot on - except that so much contemporary music is unapproachable, if not actually impossibly inhospitable. Sir Thomas Beecham was allegedly once asked what he thought of Stockhausen, to which he apparently replied 'I've never conducted it, but I have trodden in it'!

Thanks for the Chekho

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26/02/2012

I agree with you Ian, each to their own way of doing things.

By-the-way, I am not that knowledgeable about classical music, but today I found myself talking to a friend who is. I happened to mention Beethoven's Grosse Fugue to him. I said it reminded me of Stravinsky. My friend smiled and said that Stravinsky had commented that Grosse Fugue was a 'Most Modern' piece of music.

Back on topic.

I have not read any books by James Patterson, and I do not intend to do so, but I do research successful authors for useful writing tips. His tip is to, 'Outline' 'Outline' 'Outline'.

James Patterson writes a list of about nine bullet points on a card as the basic outline for his next novel. Planning tightly means that each year he can produce a new novel. From what I have learned the hard way, I have to agree. Writing to a tight plan plan is easier and much quicker.

Anton Chekhov and Maxim Gorky discussed this issue. Chekhov knew Gorky was not a good planner. I believe the conversation went something like this.

Gorky asked, 'Should I plan tightly for my new novel?'

Chekhov replied, 'This is not a conversation about literature, it is about psychiatry.'

Gorky then asked, 'What do you mean?'

Chekhov answered, 'Anyone who writes a short story or a novel without a plan must be insane.'

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