In recent poetry meanderings, I came across a poem by Lyn Hejinian in a Poetry Foundation podcast (called PoemTalk) that I find enormous enjoyment from and don’t talk about at social events.
Lyn Hejinian, ‘constant change figures’
The poem itself – imaged here and linked appropriately – takes the reader on a circuitous rout of reflection and memory that the poem’s form reflects. It’s brilliant. You’ll have to read it a few times before it leaves more than an evaporating mnemonic impression. This is my attempt at working out some of its ideas and the further ideas it produces in me as a writer.
I spent some time with the piece. What I found interesting enough to chase after when I set the poem aside was Hejinian’s curiosity in everyday life and how we talk about it. She defends these things as important settings or subjects for avant-garde literature. Or any literature and art, for that matter. Continue reading
January 2, 2015. 1:10 PM — approximately a week after finishing Ben Lerner’s inside-out, upside-down novel, 10:04, and my mind is still reeling as if from a drug-induced experience (or, at least, my perception of what a drug-induced experience could be like). That’s the simultaneous joy and pain of stepping inside Lerner’s mind for a few post-Christmas days: Lerner’s particular intensity of observation produces a similar intensity in his readers. One begins to notice everything as the author shows you what he notices. I haven’t slept as well since simply because I can’t turn my mind down enough for good sleep. Continue reading
From Charles Dickens to countless modern works, including some of my own stories, orphans are among the most common characters in fiction. I find this especially true in fantasy – so much so that The Orphan might have its own place among the pantheon of other iconic fantasy figures such as The Soldier, The Peasant, The King. But at what point do these figures become bland labels that define the character more than his or her actual traits?
Fantasy, a genre that so often pulls characters from the grab bag of tropes on display in either The Lord of the Rings or Chaucer’s Canterbury Tales, has received countless literary complaints over its apparent lack of variety. When a book’s first act describes a backwoods young farmer – unwise to the ways of the world (and obviously having some convenient prior experience with weapons via hunting) – I automatically assume that said farmer will be sitting on a throne before the end. Continue reading
“We don’t want your genre stories.”
I see this message more and more in the submission guidelines of writing journals and magazines, especially in those dedicated to fantasy and science fiction.
Speculative fiction is what we’re calling it nowadays. The Sword and Sorcery glory days are at an end. Writers and journals alike don’t want to be pigeon-holed in hopes they’ll reach a broader audience. And fantasy is fighting to be taken more seriously, which means intensified abrogation of the regular tropes. There’s still a place out there for the old classics, but that’s because they’re, well, classics. Continue reading
I write this from experience. If I had known how many rejection letters I’d receive before I started writing, would I have taken the plunge? Good question. I’m not sure, and I don’t really want to look back, but here’s a hypothesis I heard this week: multiple rejection letters may actually hone your creative skills.
Let’s get one thing out on the table and make it clear. Receiving rejection letters – doesn’t matter how many – doesn’t mean you’re a bad writer. The odds are against you. Really against you. Continue reading
Uncertainty is a virtue in creative writing. If you’re a writer, you’ve likely heard or read countless interviews of famous authors saying that the outline is a great way to kill the spark. That’s not to say that outlining doesn’t work for anyone. I’ve outlined some stories that I needed to wrap my head around before I got too far in to redirect, and they turned out fine. But it doesn’t work often.
‘Write to discover’ is the long standing motto for many authors, and I’ve adopted it for myself. For a person who usually avoids spontaneity, this seems a little out of character, but then again I’m not writing about myself. I have to figure out who these characters are. To do that, it seems easiest to place them in a setting and a situation, and then I have ten pages from which a plot is quickly being born without my knowledge. Continue reading
The more I read the more I realize that every idea – every idea at all – has already been taken. “There is nothing new under the sun”, the famous quote from King Solomon goes. And while I suspect this is a woefully misquoted verse, it seems to have veracity under most interpretations. And, gosh darn-it, he was saying that long before Christ!
As authors (or artists looking to bring something unique into the world), where does that leave us? Perhaps some of the greatest writers in history felt this inner demon attack on creativity, so maybe we’re not in bad company, but that doesn’t change the nagging suspicion.
A writer’s doubts cling to him or her like a shadow. Glance over your shoulder or into a mirror and you’ll find it. If you don’t, you haven’t done anything risky or creative or vulnerable enough to earn doubt. But perhaps this particular doubt should be cut down a little to a more manageable and realistic scale. Continue reading