New Zealand-based South African author Zirk Van Den Berg taught a class on the how, what, and why of writing a book at the end of last year. The first part is featured on How, What, and Why of Writing a Novel, Part 1 and Part 2. This post comprises the last instalment of the lesson.
Zirk told us to be serious. ‘A novel is a long-term commitment. You need a time and a place to work.’ He told us, somewhat tongue in cheek, that Nabokov had his wife do everything, run the house, drive the car, etc, so he could focus on his writing. Instead of a wife to ‘do everything for us,’ we need to ‘Set up a routine and stick to it.’ Putting the rough draft down was the first step. And here, Zirk advised, ‘Don’t write until you can’t write anymore, because then you can come back tomorrow and start from where you left off.’
Also, if you have difficulty getting to the rough draft stage, you might be doing the wrong thing. ‘You might need to change the point of view or voice.’ Zirk pointed out that sometimes, ‘A story will only let itself be told in a certain way.’ A friend of mine has been writing a book, and the first draft was good. However, she recently tried rewriting from a different point of view, and suddenly, the text came alive. I was reminded of my writing tutor, Kate de Goldi, saying that when she wrote her first book, a minor character continually drew unwonted attention by being more interesting than the protagonist. Eventually, Kate gave in and attempted writing the book from the pov of the minor character instead, and Lolly Leopold leapt to center stage. Kate’s fabulous book, Clubs, was the result, a cult classic of children’s literature in New Zealand.
Zirk reminded us, ‘When you’re finished a book, reward yourself.’ Yay! I always miss that step. LOL. Then. ‘Think critically about what’s still needed or needs to go. When I finish a book, I’ll read it ten or twenty more times and still find mistakes.’ But, importantly, ‘Don’t delete. Save it rather than throw away – you might use it.’
For editing, he gave us this guideline. Every sentence must do at least one of these things, preferably more:
- Advance the plot.
- Heighten the drama.
- Reveal the character.
- Build the atmosphere.
- Weave the theme.
- Strengthen the semblance of truth.
- Be interesting or entertaining in itself (E.g., through poetic elements)
Zirk said to have a checklist. While we are editing, we should make sure to check our novel brief,
the narrator,
tone,
theme,
plot,
character/s,
setting,
style,
how we are stringing words together,
the storyline,
the opening,
scenes,
dialogue,
and telling instead of showing.
And if we lose our way, Zirk advised that ‘the best info is often given by script writers.’ I have also found this to be true. A fantastic guide I’d recommend any writer to study is Into The Woods, How Stories Work and Why We Tell Them, by scriptwriter John Yorke.
Happy Writing!
Talk to you later.
Keep creating!
Yvette Carol
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‘Most writing on art is by people who are not artists: thus all the misconceptions.’ ~ Eugene Delacroix
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