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Revising and Editing Zalon

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The Zalon: what a great idea for Kellie Jackson to take her Words Away salons online with Zoom.

I was the guest at Monday night’s inaugural Zalon, when over 80 writers of the ever widening Words Away community (now playing simultaneously in California and Oregon and Portugal) showed up to discuss Revising and Editing.

Some things we talked about:

* The distinction between plotters and pantsers is one I don’t really believe in: any writing needs both planning and freer-style composition.

* And while we are at it, can I add that I truly loathe the words pantser and pantsing? They feel like demeaning descriptions for an intuitive and exploratory stage in writing.

* First drafts are not shitty, but precious – even if Anne Lamott’s essay ‘Shitty First Drafts’ is essential reading. No draft along the way is shitty if it gets you where you have to be: again, why cloud your thinking about your early forays with such negative terminology?

* Editing is just as creative as writing your first draft: a holistic approach.

* Clarify your intention: decide what the pay-off will be – for you in the writing, and for the reader in the reading.

* Really take the time to take stock of your narrative content (characters, settings, dramatic situations), and work out what’s at stake before you dive into detailed and committed work on narrative style and form – unless, of course, style and form are what’s really at stake, i.e., they contribute significantly to the pay-off. To help, sometimes it makes sense to do exploratory work on the side, away from the main body of your manuscript: writing experiments, freewriting, journal writing, reading.

* Understand the difference between writing and publishing. Something else I forgot to say: much about revising is about technique – commanding craft in ways that gives your writing greater energy and force. But, too, much in publishing is about taste, however much you polish your manuscript. If you are interested in being published, agents and editors will be assessing your writing based on personal preferences and fashions too.

* It really helps to find trusted readers with whom to exchange work: writing partners or writing groups. Not only do you get a fresh pair of eyes on your writing, but you develop editorial skills to bring back to your own work too. I wish there were a good place for writers seeking writing partners to meet, but social media often provides a starting point. To be revisited …

* Something I never got to say: of course we proofread our cover letters and submissions, but doesn’t it get a bit prissy and gatekeepery when, during presentations to budding authors, agents and editors scold writers about typos? Of course we know we have to proofread our work! But in the age of the autocorrect even the best of us make ducking mistakes. And we have to save something for the ducking copyeditor, don’t we?!

Be professional, of course. But to me it is far more important to pay attention to: not being boring, and writing something that makes us want to READ ON. When I am reading a cover letter or synopsis, I’m looking for signs of life, not carefully chilled prose.

Things I find more of a turn-off: comma splices and run-on sentences (which unless you’re writing stream of consciousness can suggest a lack of clear thinking): convoluted syntax; opaque writing (a catch-all term for many forms of dull prose); writers who are looking for ‘a blueprint for publication’ (a big red flag for me – my usual reply being ‘Sorry, I’m busy for the coming year slash rest of my life’).

Thanks again to Kellie for asking me along – I look forward to attending other Zalons, which are a great way of sustaining connection and community while we are forced to stay at home.

I hope to run an online course on revising and self-editing later this year – subscribe to my blog if you’d like information in due course.

 

Blog posts on revising and editing
The posts linked below describe in more detail exercises useful in revising as well as other practical tips for drafting:

Revising: A Craft Checklist

Suggestions For Self-Editing – various practical tips

Childhood Revisitations – a writing experiment I mentioned in the Zalon

A Gift on Every Page – including a few ideas for formatting your manuscript for reading and editing your own work

The Retype Draft

Spring Clean-up – thinking symbolically about revising, in this case using analogies from gardening

Great Annotations

Working With Feedback on Your Writing

Tell Me A Story and A Book Is Not A Film – popular posts on my blog about choices in narrative style, which are often important decisions during revising

Rejected, Or Declined?

When Does A Writer Need An Editor?

Definitions of Editing: Structural Editing; Copyediting; Proofreading – a series of posts describing editing from the points of view of both writers and publishing professionals

 

Resources and books useful for revising that I mentioned (or meant to)
Anne Lamott, Bird by Bird
Ursula Le Guin, Steering the Craft and The Carrier Bag Theory of Fiction
Stephen King, On Writing
Nina Schuyler, How to Write Stunning Sentences
Christopher Vogler, The Writer’s Journey (a great exercise: applying its ideas to a favourite book or a work that somehow influences your own writing)
Ronald Tobias, 20 Master Plots
Susan Bell, The Artful Edit
Scott Pack, Tips From A Publisher: A Guide to Writing, Editing, Submitting and Publishing Your Book  (which includes an excellent discussion of models of publishing – not directly relevant to revising quite yet, but a context all authors need to grasp)

 

Water Ways

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On Saturday a lovely group of writers came along to Water Ways, the newest of the Four Elements workshops that I’m running as a series with Kellie Jackson of Words Away.

Among the Four Elements, Water is identified with feeling, and as the workshop approached I realised the field of emotions presents a pretty HUGE and amorphous subject as a topic within writing. Given my ambition slash weakness of needing to be comprehensive, how would we cover it ALL?!

So we approached the subject of emotion through a few specific lenses. We started by discussing memory and symbolism as ways to activate, contain or convey feeling in writing. Inspired by Lynda Barry, we also gave ourselves watery names for the day – with my teacher hat on, I became Professor Newt.

We then looked at methods of crafting narrative tone, paying special attention to perspective and sentence structure and examining the emotional shifts within a particular scene in Brokeback Mountain. A good scene will contain CHANGE, especially in the feelings of characters – and readers. We also looked for Proulx’s use of water imagery.

And I forgot to ask: where in the story do Ennis and Jack say, ‘I love you’? What does that say?

Thinking about tone in relation to pitch, it also occurs to me now that we use the word pitch to describe that brief description we use to sell books. Which makes me think how a good sales pitch really goes to the heart of a book, and ideally grows out of the narrative tone and voice and style of telling the story.

We ended the day looking at the emotion created within the intimate space of a letter with reference to works by Ocean Vuong and Tove Jansson. And then we wrote thank you letters of our own.

I wish we’d discussed the idea of the unconscious a bit more. But it was certainly present; we talked plenty about Ocean Vuong, and only now do I realise: the clue is in his name! OCEAN = WATER, right?! There: the unconscious in beautiful action.

A highlight of the day was our brilliant guest tutor and resident wavemaker: author and illustrator Sally Kindberg. I am really keen in this series of workshops to experiment with practices and viewpoints from creative fields that rely less heavily on verbal forms, because words are so often the problem with writing – words can get in our way, just as writers often need to get out of their own way too, and it often makes sense to develop writing without actually doing any writing. So on Saturday we drew.

At the start of the day, instead of a meditation we did a contemplative drawing exercise using our hands and lines. And then in her drawing workshop Sally got us to make some (hilarious!) self-portraits, and, using her magic top hat, guided us through the creation of characters that we took on adventures in four-frame comic strips. Clouds became potatoes, and much mirth was had. Under my student pen name of Simon Seahorse, I was very pleased to learn how to draw wings in flight.

Comic strips also prompted a brief discussion about yonkoma manga and kishōtenketsu, and we bonded in questioning the necessity of conflict as the central drive in writing (an idea that many of us are fed up with – more on that anon).

Sally inspired me so much I spent the following afternoon watching the wild and brilliant Studio Ghibli classic Porco Rosso and then playing drawing games with a friend who’d come to visit. Thanks, Sally! I finally got to art school.

And thanks again to Sally for bringing drawing into our class so purposefully, and to everyone who came for joining in so fully.

Our next Four Elements workshop is Earth Works, where our guest earthshaker will be dancer and Physical Intelligence expert Claire Dale. It’s held on 21 March, which is the spring equinox; I promise we shall be marking the wRites of Spring in appropriate style!

 

 

Food in Writing

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On Sunday I taught for the first time at the Victoria and Albert Museum: a workshop on food in writing called Food: Bigger Than The Page.

We started off talking about food as a genre or genres (plural) of writing. Some books of food writing have an investigative or campaigning approach, such as Michael Pollan’s The Omnivore’s Dilemma and Barbara Kingsolver’s Animal, Vegetable, Miracle, and then there are works of food history such as Dorothy Hartley’s Food in England and Mark Kurlansky’s Cod.

Someone also brought up the name of one of the great food writers: MFK Fisher. And I forgot, oops, to mention Julie Powell’s Julie and Julia, which was inspired by the blog she wrote cooking her way through Julia Child’s classic cookbook – if you are interested in the publishing process, you might enjoy this piece from the publisher Knopf on The Making of … Mastering the Art of French Cooking.

Moving on to the use of food in fiction and memoir, we discussed the role of food (and hunger) as symbol and driver of plot in John Steinbeck’s The Grapes of Wrath, then explored the part that food plays in activating memory, using Joe Brainard’s I Remember and Nigel Slater’s Toast.

Paying attention to the ways in which all five senses create images that bring writing to life, we listened to some poems by William Carlos Williams, Pablo Neruda, Seamus Heaney, Galway Kinnell and Meryl Pugh. (Meryl teaches popular courses at Morley College and the Poetry School, should you be interested.) Some of these poems celebrate food or everyday life in very straightforward ways, while others have more layered meanings.

And then, after a brief palate-cleansing meditation, we became hunter-gatherers: we created Word Hoards of our sense perceptions by getting intimate with mint and star anise and kiwi fruits, and carrots and lime-blossom tea, and a fancy tiny pear called Piqa Reo (Waitrose, we salute you – and you’ve even given us a further way to use the Q tile without a U in Scrabble) (though the lime-blossom came from Gaia in St Margarets – support your local indie!).

We then paid a visit to supermarkets in California with Allen Ginsberg and Armistead Maupin, and created some characters of our own by thinking about the ways in which food acts as a social marker.

We fitted in a snack-sized look at recipes in food with Heartburn by Nora Ephron (and Like Water For Chocolate by Laura Esquivel also got a mention here). And then we finished off by discussing recipes as a form for poems with ecopoet Jack Collom – something to try at home?

I had a lot of fun putting this workshop together – see the links and titles above and also below in the list of resources. Thanks to the V&A and everyone who came along – and especially to Stacy for thinking a writing workshop would be a good idea (I first met her when I attended a V&A book club for The Lacuna by Barbara Kingsolver – I’m going to tell myself that Frida Kahlo led me here). Thanks also to Michelle for the photos (and the kind words) below.

 

Further resources

Sandra M. Gilbert and Roger J. Porter, eds., Eating Words: A Norton Anthology of Food Writing

Mark Kurlansky, ed., Choice Cuts: A Savory Selection of Food Writing

Jill Foulston, ed., The Joy of Eating: The Virago Book of Food

Dianne Jacob, Will Write For Food (practical advice on writing about food)

Diana Henry, What Goes On Behind The Scenes Of A Cookbook (for more about the creative and production processes, and Diana Henry is an inspired writer and cook too: I have enjoyed many of her recipes)

Lynda Barry, Syllabus and Making Comics (great on creativity – you might also enjoy this interview with the genius herself: at the least, watch the first five or ten minutes)

Plus, just because, a gorgeous piece of food/cookery writing on candied oranges I read earlier today.  (Will edit for candied oranges: a trade, anyone?!)

 

And before I go: as I type, I believe there might be one space left on the day-long Four Elements workshop Water Ways on 8 February, which explores how we evoke feeling in writing, and I’ll also be looking at food among other experiences of the earthly realm in Earth Works on 21 March. More info via the links at the Words Away website.

 

One of our frondy inspirations.

 

Such a grand setting!

Workshops for 2020: Food, Water Ways, Earth Works

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In 2020 I’m continuing the ongoing series of new Four Elements workshops with Kellie Jackson of Words Away.

Four Elements workshops follow a holistic approach, using mindfulness techniques and placing a strong emphasis on play and experiment, while also addressing practical matters of craft and the business of publishing. Each day-long workshop considers the symbolic powers and perspectives of the elements: fire for the energy it creates, water for the feelings it evokes, earth for conjuring up the material world, and air for the way in which it structures the world and brings clarity to our thinking. We also discuss ways to balance all four elements in our writing, as required.

We held the first new workshop last month; in Finding Your Fire we paid particular attention to how the power of fire fuels our intention and charges up our voices, with one session devoted to crafting dialogue, which is perhaps one of the most striking ways to add a spark to our writing. We also looked at many ways in which fire appears in writing.

Writers sometimes overthink our work (too much time spent in our own company?!), and we all gain something from getting out of our own heads, and to do so it often helps to work with creative materials other than words. So we are also inviting guest gurus to lead sessions during each day – practitioners who bring in fresh (and elemental) perspectives from different fields in the arts. In the pic above, guest firestarter Kate Beales is showing us how techniques from theatre help summon up fiery energies to empower our writing. In other workshops we’ll gain insights from teachers or coaches from the worlds of illustration, dance, and poetry.

I usually circulate brief writing assignments as well as reading suggestions in advance, so that everyone comes prepared. And of course there is plenty of writing during the day, and afterwards too, as I provide writing prompts and resources, as well as follow-up notes with plenty of suggestions for further writing and reading. We also make time for brief meditations.

Our workshops are attended by published authors as well as beginning writers, and the spirit is engaged and collaborative; it’s good to observe community forming and writing partnerships developing.

If you are interested, below are the dates for the next workshops – my Forthcoming page also has more information, and you can find booking details via the links below:

* Saturday 8 February 2020, 9.45am-5pm Water Ways: A Four Elements Workshop on Feeling, Tone and Perspective – our guest wavemaker is artist and author Sally Kindberg

* Saturday 21 March 2020, 9.45am-5pm Earth Works: A Four Elements Workshop on Description and Action – our guest earthshaker is dancer and coach Claire Dale

* Saturday 16 May 2020, 9.45pm-5pm Writing On Air: A Four Elements Workshop on Structure, Form and Focus – our guest aeronaut is poet and performance artist Bhanu Kapil (more info and booking link to come)

* June 2020 (date to be confirmed), 9.45pm-5pm
The Four Elements of Editing (more info and booking link to come)

Also, on 26 January 2020, 2pm-5pm, I’m leading Writes at the Museum with Food – Bigger Than The Page, my rescheduled Sunday-afternoon workshop on food in writing at the Victoria & Albert Museum. Inspired by the V&A’s recent exhibition Food: Bigger Than The Plate, it will explore all sorts of ways in which we use food in writing. I might even wear a pinny.

Have a good holiday break – and I hope to see some of you in the new year. Let’s see 2020 as the beginning of something good – in our writing, in the world.

Summer 2019 Masterclasses: Density and Speed, Craft of Revising

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Kellie Jackson of Words Away and I have lined up two further day-long masterclasses on craft for the summer term.

* Saturday 11 May 2019: Density and Speed: Crafting Space and Time in Writing, plus Q&A with book PR Alison Menzies. 

* Saturday 15 June 2019: The Craft of Revising: A Masterclass on Self-editing for Writers, plus Q&A with editor Faiza Khan of Bloomsbury Publishing. 

I am right now putting together materials for new class Density and Speed. This is inspired by hearing Donna Tartt, in a tv interview at the time of the publication of The Goldfinch, say that she loves Charles Dickens for the ‘density and speed’ she finds in his work.

What did she mean by that?! I wasn’t quite sure at the time, but this idea of density and speed caught my imagination and refused to go away. In my thinking, density has come to refer to the texture of a world that’s created in either fiction or nonfiction: characters, settings, the way in which a grounded reality is conjured up. It is related to perspective, tone, and description. We’re often told to avoid description in writing, and yes, we might need to be sure it doesn’t slow the storytelling down too much. But as a reader I love good description when it’s well rendered. Sometimes it’s great paragraphs with life and colour, and sometimes it’s just a single word in the right place, but description can really halt me (in the good way) in how it evokes a scene, a whole landscape.

And speed for me describes our movement through a piece of writing: the techniques with which a story creates pace and tension and urgency, and that keep the pages turning from the start – a commercial imperative, too. At the sentence level, as well, parts of speech play roles: at a basic level, nouns anchor us and verbs move us through.

The more I thought about it, so many other things come into play with these ideas of density and speed: dramatic structure, narrative distance, what’s unspoken in a story. Word counts, genre, sex, death – immortality! And I also realised that the ways in which we carve up and present space and time in our writing also give us an opportunity to question the shapes of our stories: there’s much more to storytelling than the conventional narrative arc, and I plan on discussing some of these matters in our class in May.

In June our class on revising and self-editing is a repeat of one we ran successfully last summer, and it should be of use to writers who have finished drafts, as well as people with works-in-progress.

Masterclass series on craft
These classes round out a year of classes designed to use practical, intuitive approaches to craft topics in writing. They cover the ground that might be addressed in seminars for an MA or MFA in creative writing: Plotting; Voice; Character and Setting; Prose and Literary Style; Space and Time; Revising and Self-Editing. I think they have been successful so far as we have a great community of regulars coming along for intelligent and good-humoured discussions; many of us go along to Words Away salons with Kellie Jackson and Emma Darwin too. The spirit is collaborative, and our focus is practical, and everyone brings along valuable contributions from their own writing, reading, and professional backgrounds.

And you don’t have to come to all of the classes to gain something from them. They are designed to stand alone, and dropping in to just one class might simply offer fresh insight or a jolt of energy to any writer wanting a bit of a boost in their creative process.

I’ve also been pleased to invite along industry speakers for Q&A sessions at the end of the day. So far we have appearances from not only an agent and editors, but also people from other areas of publishing talking about other aspects of the book trade: audiobooks, production, PR, rights, literary estates. I don’t really like the idea of publishers and agents as gatekeepers, and prefer to find ways in which writers can empower themselves in what is, at best, a collaborative creative process. It’s important that publishing is demystified, and it helps to know what goes on behind the scenes. Understanding that this is not only a business but a working life can have a subtle effect on how writers think about their own books and careers.

Classes usually come with preparatory reading suggestions and sometimes an advance writing exercise too. I try to use a variety of selections to illustrate craft points – some books that I’m currently rereading are shown in the pic above (note: you won’t have to read them all!). I also send follow-up notes after each class, including recommended resources, further reading, and writing prompts and exercises.

The May and June 2019 classes will again be held at London Bridge Hive, 1 Melior Place, London SE1 3SZ. (And places for these classes are going; Density and Speed is already booking up quickly.)

And I shouldn’t forget: on Monday 29 March I am co-hosting the Words Away salon with award-winning historical novelist Antonia Hodgson, who’s going to be talking about Plotting, Process and Page-turners. Hope to see some of you there.