Zadie Smith on What You Think You Know

This is an author, I’m afraid, who’s still on my “to read” list rather than my “already read” list (much like Gaiman and Miéville previously). Still, Zadie Smith wasn’t elected a fellow of the Royal Society of Literature for no reason, I’m sure.

To start, let’s take a look at this video interview Smith did with Paul Holdengräber, live at the New York Public Library, which I found here on the NYPL website with a bunch of other interesting interviews of authors.

To quote the video about writing and belief:

“Each novel I’ve written, any novel anyone writes, it’s not that you sit down saying ‘I believe this, and now I will write this,” but by the nature of your sentences, just by the things that you emphasize or that you don’t emphasize, you’re constantly expressing a belief about the way you think the world is, about the things that you think are important, and those things change. They do change. And the form of the novel changes as well. A very simple example is in a lot of my fiction I’ve delved very deeply into people’s heads, into their consciousness and tried to take out every detail, and the older I get and the more that I meet people and realize I don’t know them. My own husband is a stranger to me, really, fundamentally at the end you don’t know these people. That should be reflected in what you write, that total knowledge is impossible.”

Which, I think, echoes Toni Morrison’s earlier advice about writing what you know. Mainly, “You don’t know nothing.”

And finally, here are Smith’s ten rules of writing fiction, from that same Guardian article where I got Margaret Atwood’s rules. Enjoy:

  1. When still a child, make sure you read a lot of books. Spend more time doing this than anything else.
  2. When an adult, try to read your own work as a stranger would read it, or even better, as an enemy would.
  3. Don’t romanticise your “vocation”. You can either write good sentences or you can’t. There is no “writer’s lifestyle”. All that matters is what you leave on the page.
  4. Avoid your weaknesses. But do this without telling yourself that the things you can’t do aren’t worth doing. Don’t mask self-doubt with contempt.
  5. Leave a decent space of time between writing something and editing it.
  6. Avoid cliques, gangs, groups. The presence of a crowd won’t make your writing any better than it is.
  7. Work on a computer that is disconnected from the ­internet.
  8. Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.
  9. Don’t confuse honours with achievement.
  10. Tell the truth through whichever veil comes to hand – but tell it. Resign yourself to the lifelong sadness that comes from never ­being satisfied.

[Click here for more writing advice for beginners.]


Virginia Woolf’s Advice on Creating Memorable Characters

The original post can be found on /r/writing here.

The other day I was reading an article by Ursula K. Le Guin about the books that changed her life, and in it she really emphasized the impact of Virginia Woolf, so I decided I would go to Woolf next to search for writing tips.

And did she ever have plenty, including this long infographic with ten general tips, created by the people at Essay Mama, but what I’d really like to talk about is her advice on building memorable characters.

In this article from the Airship, Freddie Moore discusses Woolf’s essay Mr. Bennet and Mrs. Brown [PDF], in which “she responds to an article by English writer Arnold Bennett, in which he argued that early 20th century authors were failing to write great novels because they failed to create tangible characters.”

You really should click through and read Moore’s intro on the Airship, but here’s the list of ten rules Moore extracted from Woolf’s essay. I hope they help:

1. Practice character-reading until you can “live a single year of life without disaster.”

This is perhaps the most gutsy advice Woolf offers. So many writers will advise you to live wildly, to fail, to suffer and bleed for your art — anything for a great life story that will give you the inspiration to write from. But Woolf makes a great point: finding inspiration doesn’t always have to be so hard on writers. It can be done simply, day by day, in trying to understand the people around you and having the courage to have a little empathy.

2. Observe strangers. Let your own version of their life story shoot through your head — how they got where they are now, where they might be going — and fill in the blanks for yourself.

When Woolf describes taking a seat across from Mrs. Brown, she describes her attire, her tidiness and her facial expression, but Woolf also lets her mind wander beyond what she sees. She lets traits serve as clues to what could be fictionalized:

There was something pinched about her — a look of suffering, of apprehension, and, in addition, she was extremely small. Her feet, in their clean little boots, scarcely touched the floor. I felt she had nobody to support her; that she had made up her mind for herself; that, having been deserted, or left a widow, years ago, she had led an anxious, harried life, bringing up an only son, perhaps, who as likely as not, was by this time beginning to go to the bad.

3. Eavesdrop. Listen to the way people speak, but pay special attention to their silence.

Eavesdropping is the oldest trick in the book in terms of learning to craft believable dialogue, but it can be just as helpful in understanding how to create generally believable characters. Of course, Woolf doesn’t dismiss silence, especially as far as conversations are involved. Silence can lead to uneasiness, as it does in Mrs. Brown’s conversation, and be revealing not only about a relationship, but each individual’s ability — or inability — to deal with uncertainty. Do they fidget? Do they quiet their voice or try to make it brighter to stir up conversation again? Do they do as Mrs. Brown finds herself doing to break the silence with non-sequiturs? One should be so lucky to get a non-sequitur like Mrs. Brown’s: “Can you tell me if an oak-tree dies when the leaves have been eaten for two years in succession by caterpillars?”

4. Write characters who are both “very small and very tenacious; at once very frail and very heroic.” Let them have contradictions.

As Woolf watches Mrs. Brown exit the train, she makes clear exactly what fascinates her about the woman: Mrs. Brown is full of contradictions. Initially, Mrs. Brown caught Woolf’s eye because of a tense conversation Woolf overheard between her and a younger man, but Woolf focuses most of her attention on Mrs. Brown, who speaks “quite brightly” and then begins to cry suddenly when the man tells her about his fruit farm in Kent. Woolf calls it a “very odd thing” to see Mrs. Brown respond by dabbing her eyes, but it leaves room for the author to imagine the story for herself.

5. Write about people who make an overwhelming impression on you. Let yourself be obsessed.

“Here is a character imposing itself on another person. Here is Mrs. Brown making someone begin almost automatically to write a novel about her.” Woolf makes the point that sometimes you don’t even need to seek out interesting people to observe — sometimes your characters find you. There’s no telling who will captivate you or any explanation of the serendipity of crossing paths, but when you do, write it all down. Let yourself be that crazed person.

6. A believable character is never just a list of traits or biographical facts.

Imagine the most dry way possible in getting to know someone: “What’s your name? Occupation? Where are you from?” Sure, these things are informative, but Woolf argues that good characters aren’t conveyed by merely rattling off a few facts. This, of course, goes back to the limitations Woolf stresses about the Edwardian style of the time and argues to avoid constructing characters by simply researching what the character’s father did for a living, or ascertaining their cost of rent, or figuring out what year their mother died. Of course, some writers like to start with biographical facts and fictionalize from there, but it’s clear that, for Woolf, knowing those things dulled her sense of creativity and openness to imagine whatever she wanted of them. Either way, Woolf got it right when she argued that just thinking of someone as a list of physical traits or a pawn on a timeline isn’t enough to create a convincing character.

7. Illustrate your characters outside of the superficial standards of their time. Let them be complex.

Woolf admits that writing for other people — for a public — can be intimidating. Will they hate my character? Will they find them unbelievable? At one point, she even makes a remark about the British public sitting by the writer saying: “Old women have houses. They have fathers. They have incomes. They have servants. They have water bottles. That is how we know that they are old women.” But Woolf argues that if you write a fictional character with conviction, if you can convince the public of anything, even that “All woman have tails, and all men humps.”

8. Any captivating protagonist should be someone you can imagine in “the center of all sorts of scenes.”

Part of what Mrs. Brown’s “overwhelming and peculiar impression” does to Woolf is inspire her to try to fill in the mystery of her character. She starts to imagine Mrs. Brown outside the incident, “in a seaside house, among queer ornaments: sea-urchins, models of ships in glass cases. Her husband’s medals on the mantlepiece.” But Woolf can also imagine scenes of Mrs. Brown alone, the young man from the train “blowing in” to her secluded home. She could see her arriving at the train station at dawn. Readers spend an entire book alongside the protagonists, and it should be someone fascinating enough to keep you turning pages through every moment, big or small.

9. Find a common ground between you and your characters — “steep yourself in their atmosphere.” Learn to empathize.

Sometimes the things we find most fascinating in choosing characters to write about is that they puzzle us. They’re captivating because there’s something so unlike you in that character, something you want to understand. Still, finding a common ground between you and your characters, no matter how unlike you they are, is necessary. Call it method-writing or what have you. Woolf explains it beautifully:

… to have got at what I meant I should have had to go back and back and back; to experiment with one thing and another; to try this sentence and that, referring each word to my vision, matching it as exactly as possible, and knowing that somehow I had to find a common ground between us, a convention which would not seem to you too odd, unreal, and far-fetched to believe in.

10. Describe your characters “beautifully if possible, and truthfully at any rate.”

How do you explain to people how to write about someone beautifully or truthfully? It’s something that seems near impossible — until you hear Woolf do it:

You should insist that [Mrs. Brown] is an old lady of unlimited capacity and infinite variety; capable of appearing in any place; wearing any dress; saying anything and doing heaven knows what. But the things she says and the things she does and her eyes and her nose and her speech and her silence have an overwhelming fascination, for she is, of course, the spirit we live by, life itself.

That’s all for today. Thanks for joining us. And click here for further advice for beginning authors.

Dan Harmon’s Story Structure 101: Super Basic Shit

The /r/writing self post this is quoted from can be found here:

This is taken from Dan Harmon’s Channel 101 post, found here, and it is one of the many great ways to look at story structure which might help you follow China Miéville’s advice on novel structure for beginners, found here. Now back to Harmon:

Storytelling comes naturally to humans, but since we live in an unnatural world, we sometimes need a little help doing what we’d naturally do.

Draw a circle and divide it in half vertically.

Divide the circle again horizontally.

Starting from the 12 o clock position and going clockwise, number the 4 points where the lines cross the circle: 1, 3, 5 and 7.

Number the quarter-sections themselves 2, 4, 6 and 8.

Dan Harmon Story Circle

Here we go, down and dirty:

  1. A character is in a zone of comfort,
  2. But they want something.
  3. They enter an unfamiliar situation,
  4. Adapt to it,
  5. Get what they wanted,
  6. Pay a heavy price for it,
  7. Then return to their familiar situation,
  8. Having changed.

Start thinking of as many of your favorite movies as you can, and see if they apply to this pattern. Now think of your favorite party anecdotes, your most vivid dreams, fairy tales, and listen to a popular song (the music, not necessarily the lyrics). Get used to the idea that stories follow that pattern of descent and return, diving and emerging. Demystify it. See it everywhere. Realize that it’s hardwired into your nervous system, and trust that in a vacuum, raised by wolves, your stories would follow this pattern.

I will talk in greater detail about this pattern in subsequent tutorials.

Next article:Story Structure 102: Pure, Boring Theory

And do be sure to check out Story Structure 102 and beyond. Dan Harmon is great at what he does. Enjoy until next time.

[For more writing advice for beginners click here.]