Creating space in writing.

In the excerpt below, I love the space created by a simple change in focus. The grandmother pauses within the story to brush flies from the child’s face, and we just know there is something wrong! Love it.

“The little granddaughter came, picking her way through the long grass. She told the grandmother that the new baby was going to have a bath and she was going to have a bath as well. Her mother had said so.

‘Is mother going to have a bath too?’ the grandmother, brushing flies away from the child’s face, asked.

‘Yes,’ the child told the grandmother. ‘All, her and me and baby.’ The grandmother was surprised….the baby and the granddaughter had been bathed.”

(P116. The Orchard Thieves, Elizabeth Jolley 1995)

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Sentence: description or construction?

I want to show you something I’m reading about sentences. Let me know your thoughts.

The main point is this: “There are no descriptions in fiction, there are only constructions.” (this reading is from Philosophy and the Form of Fiction by William H Gass)

We start with a paragraph describing a character named Magister Nicholas Udal. (from The Fifth Queen, Ford Maddox Ford)

 

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Next, we look at removing the colon, and placing that sentence at the end of the paragraph to see how that changes our comprehension of the character.

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Next, the possessives related to clothing are removed, the ‘his doctor’s gown’ is changed to ‘a doctor’s gown’ and the same with the cap.

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And then the same is done with Udal’s features.

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Next, he plays around by letting him own his clothes but not his face:

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from Philospophy and the Form of Fiction by William H Gass.

William H Gass & Metafiction

 

 

 

AS William H Gass was said to be the first to coin the term metafiction, I thought I’d post the paragraph in which he does. It’s from Philosophy and the Form of Fiction, an essay from his 1971 collection, Fiction and the Figures of Life, and he entertains us with a bit of attitude.

There are metatheorems in mathematics and logic, ethics has its linguistic oversoul, everywhere lingos to converse about lingos are being contrived, and the case is no different in the novel. I don’t mean merely those drearily predictable pieces about writers who are writing about what they are writing, but those, like some of the work of Borges, Barth, and Flann O’Brien, for example, in which the forms of fiction serve as the material upon which further forms can be imposed. Indeed, many of the so-called antinovels are really metafictions.

 

Jane Eyre as Meta-fiction

 

WORKING on my collation of, and obsession with, metafiction written by women, I’ve just now finished reading Jane Eyre. Why it’s taken me so long to get to this wonderful book I don’t know, actually I do know, I started many times but the dated phrasing and the occasional long-winded sentences were a bit of a block. Urged on by my Instagram friends, I dove in and committed to it. So glad I did!

AS far as the meta-fiction classification goes, Jane Eyre comes under the umbrella of a novel where the narrator intentionally exposes herself as the author of the story. This is done in such a delicate and lovely way, simple and engaging. Throughout the book, Jane, our narrator, slips in moments of addressing the reader, many times she calls to our attention by addressing us, “Reader….” and proceeds to tell us something of her intimate thoughts. The most famous, Reader, I married him. It’s delightful and personal, and endears us to her as we become again and again her private confident.

Having read this lovely work, I’m now going on to read Wide Sargasso Sea by Jean Rhys. I’ve read WSS before, but as it’s written as a prequel and response to Jane Eyre, I’m dying to dive back in with a new interest.

 

 

Writer’s Diary 7: The Process That I Know

 

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I’m starting another book, and this is what I now know about my writing process.

I now know that what other authors say about writing a book – that the writing of every book is no easier than the first – is a fact I have found to be true, but there are other things that I know, and the knowing makes it a calmer and enjoyable process, perhaps more enjoyable than those books that came after the first, and before the most recent.

I now know that it takes me at least a year to write a book, (others are faster and churn out a few per year, or are slower). I’ve learnt this about my style, and so I know not to expect myself to be quicker. I know that I need to make a plan for a book, and that the end result will only barely resemble that initial plan, but I need to make the plan, regardless. I know I will make many drafts, the first will be sketchy and shallow, the last will be a long and satisfying process of examining every word’s relevance in every sentence. I know that when I have finally completed that book, edited and laid out how a finished book should be, and told everyone that I have finished, the truth will be that I have, in fact, not finished. Three months later I will write one more of at least two more drafts, and I also know, that this process from start to finish is all part of what I find to be the most enjoyable part of writing a book.

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