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Everyday I Write The Book

by Sarah Edgson

It has been said, that whilst writing a short story is like engaging in a brief affair, writing a novel is more like a marriage; compromise, and long-term commitment, for better or worse.



Over the years, my approach to crafting The Great American Novel has been filled with meaningless and generally unsatisfactory one-night stands.

(And, I really do think someone should bring out a novel called The Great American Novel, just in case their career choice ever comes up in conversation. "You don't work do you?" they'd be asked. "No," they'd reply. "I took time out to write The Great American Novel..." You get the picture.)

I get a good idea. I get very excited about it. I start fantasizing about my good idea, which manages to elevate itself to a great idea. I spend time gazing out of the window, imagining what I could do with this very great idea.

Time passes. I drink a lot of coffee. I put the music on, dim the lights, arrange myself meaningfully...and then I start typing. Sure, a blank page is frightening, that step into the unknown, and then I get into a rhythmic pounding, and the music gets more intense, and my breathing gets faster, and...

Was it good for you? Hell, most of these brief encounters don't even have a name.

You see writing, much like sex, has an agenda. One-night stands, quickie liaisons, full-blown relationships all come with an emotional list; will it last? Do they love me? Is a contract involved? And whereas True Art and True Love demand a certain selflessness that transcends the ordinary, writing is a very selfish thing.

You have to lock yourself away for hours at a time. You ignore the 'phone. You never visit anyone. You never see daylight. You become an obsessive, manic depressive, socially inept word junkie.

You can't hold a conversation with anyone without wondering whether you could use that conversation in your book. Events become scenes. Friends become defined only in terms of their grotesque characteristics; ones that you will use to comic effect later on.

"On the steamer from the Hook of Holland to Harwich," wrote Erica Jong in Fear of Flying. "I stand in the mist and cry, thinking of myself standing in the mist and crying, and wondering if I will ever be able to use this experience in a book."

The trouble is, I don't like being this selfish. All this objectification of Life just sucks. But, the problem with being a writer (or, at least being perceived as having the talent or the ability to write, which is often more of a curse) naturally leads people to assume that you're going to churn out a novel, and probably TGAN, at some point.

"When are you going to write that novel?" they intone, much in the same way and tone of voice that mothers enquire when you're going to get married. They are, as I've said, one and the same thing.

You are not a serious human being unless you settle down and wed, and you are not a serious writer unless you produce a tome or two.

Preferably two. The first is always a fluke. And once you've written the second, which is usually 'critically acclaimed' after the 'promising first novel', you inevitably enter the arena of The Difficult Third Project. After that, it's a lifetime of alcohol abuse and madness.

Maybe that's why so many writers stumble on the Altar of the Novel. It's a lot nicer to have potential than to be exposed as a failure, as a Could-Have-Been, or a Might-Have-Been.

I'll admit there was a certain cachet around Christmas when I decided to Write My Novel (Finally). Friends spoke of me in hushed tones. There was an air of excitement about the place.

But now, faced with a daily grind of X-number of paragraphs + rewrites I'm starting to daydream about the odd clandestine poem, perhaps a bit of prose after work. My book has taken to drinking during the day and calling its mother.

Anyone know the number of a good Novel Guidance Counsellor??

Copyright Sarah E Edgson 2000


To read more of Sarah's articles, go to:

  http://freespace.virgin.net/sarah_e.edgson/default.htm

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