Author Archives: Garry Craig Powell

Two Ways of Writing a Novel

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Part One: The Cinematic Model

 

There are essentially two different ways to write a novel. The first is action-oriented, and usually heavy on dialogue; concerned with visible drama, above all, it works much as a film does. It observes human beings interacting and conflicting with each other. “I am a camera with its shutter open,” wrote Christopher Isherwood, in the second paragraph of Goodbye to Berlin, “quite passive, recording, not thinking.” One may argue about whether he succeeded in maintaining that objectivity, but unquestionably that was his aim, as it was of so many early twentieth century writers, among them Ernest Hemingway, John Steinbeck and Graham Greene.

The Author Photograph

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Is This a Good Author Photograph?

When University of Central Arkansas student Park Lanford took this picture of me a couple of weeks ago (for the school’s literary magazine, the Vortex), I immediately thought, “That looks like an author photograph.” My next thought was, “Why is that? What makes a good author photograph?” Do you need, if you are a man, to look somewhat craggy, earnest and intense, as I do here? Does it help to be bearded, as so many of the giants of literature in the past have been? I am being facetious, but you get my point.

Alexander Weinstein talks about Children of the New World

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Interview with Alexander Weinstein, author of Children of the New World

My interview with Alexander Weinstein, recently published in Rain Taxi Review of Books (link at the end of post). This collection of speculative dystopian fiction has been compared to the Black Mirror TV series. It’s quite excellent.

Garry Craig Powell: In a recent interview with 0 + 1 reads, you cite the influence of filmmaker Charlie Kaufman and mention that in spite of his metaphysical concerns, he grounds his stories in a gritty world. It struck me, reading Children of the New World, that you do that too. Unlike some cerebral writers, including some that you acknowledge as influences, you create complex, well-rounded characters with whom we can empathize. In the title story, “Children of the New World”, for example, a couple has to ‘delete’ their virtual son when his program is plagued by a virus—and incredibly, we feel sorry for them.

Writing in the Echo Chamber

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Much hand-wringing and self-examination has taken place since the US Presidential election about why so many people, political pundits and journalists included, were blindsided by the result. The ‘echo chamber’ as a metaphor for social media has been the most frequently cited cause. Nowadays most of us, the argument goes, get our news from Twitter or Facebook feeds. This is true, not only for the millennials, but equally or almost so for older generations. Because most of us are reading ‘news’ (more often opinion, when it comes down to it) from our friends, who are likely to share our views, there’s a danger that our prejudices are never challenged and that we live increasingly in a world that bears little resemblance to reality.

How to Write Like Gabriel Garcia Marquez

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  1. In your next incarnation, be born in Colombia, or anywhere that the beliefs of a traditional culture clash with those of western rationalism.
  2. Work as a journalist. Learn the importance of close observation. Learn how everything has political causes and repercussions. Understand that however extravagantly unique an individual may seem to be, he is as typical of his society as an animal is of its herd.
  3. Steep yourself in great literature: the Greek tragedians, for their belief in the implacability of fate; the great North Americans, especially Faulkner and Hemingway, for their disciplined, tightly-controlled storytelling; and the modernist masters like Joyce and Woolf, for their streams-of-consciousness and lyricism.
  4. Forget everything you’ve ever heard about how to write fiction. Tell, don’t show.
(Continue Reading)

The Writer as Superman

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The Writer as Superman or Superwoman

Naturally I also admire artists and writers who are unexceptional at anything but their art. Nevertheless, the lives of people who do nothing but write or paint or make music, often seem barren or bleak. Who would want to live Kafka’s life, or Woolf’s, or Joyce’s? I have long been fascinated by multi-faceted geniuses like Leonardo, Michelangelo or Goethe, and those who performed great physical feats. Heroes live full lives. And by ‘heroes’ I don’t mean that we must approve of everything they did. But it’s useful to reflect on those artists who live on a grander scale, who consciously or unconsciously try to live as supermen or superwomen.

What Writers Can Learn from Tolstoy’s Novellas

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Lev_Nikolayevich_Tolstoy_1848I’m shocked when I read lists of favorite novels and see that most, and sometimes all, are American. There may be a leavening of British authors too; that’s something. Still, I think, haven’t you read the Russians or the Germans? You really think Toni Morrison or Jonathan Safran-Foer are better than Tolstoy or Musil? Anglo-Saxon culture is lamentably insular, and American culture is not merely insular but downright provincial these days. The greatest weakness of the writing done by creative writing students—graduates as well as undergraduates—is that it’s so rarely informed by wide reading. And however unfashionable it may be, my remedy is to send them to the canon. Not “back to the canon”, sadly, because most of them aren’t familiar with it in the first place.

The Buried Giant: Ishiguro’s Masterpiece?

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 Good art, Tolstoy said, is of two kinds: either religious or “universal”, which he defines as conveying “the simplest feelings of life, such as are accessible to everyone in the world.” I quibble with his use of the term “religious”, although I would accept the broader “spiritual.” About the universal, it’s hard to disagree. The question I ponder here is whether a novel set in Dark Ages Britain, with elements of fantasy including ogres, a dragon, a knight of the Round Table, and a constant mist that causes amnesia, could possibly fall into that category.

The Magic Bookshop of JK Rowling

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J.K. Rowling’s Magic Bookshop

 

The most beautiful bookshop in the world is surely Lello e Irmão in Oporto. It is the bookshop J.K. Rowling used to visit when she was an English teacher in Portugal in the eighties (as I was), and the one whose spectacular staircase—a neo-Gothic carved extravaganza—inspired the one at Hogwarts. For this reason alone, perhaps sadly, it has become a site of pilgrimage for Potter fans

A New Path for Literary Fiction

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A New Path for Literary Fiction

 

We need a revolution, not just in politics, but in literature. It’s long been apparent that most fiction writers are stumbling blind down one of two dead-end streets—either trying to rewrite the nineteenth century novel, or else writing so-called ‘experimental’ fiction, usually based on postmodernist principles, often cleverly enough, but for me most of them are unreadable, because they’re little more than cerebral and linguistic games. Obviously I’m generalizing, and naturally there are exceptions. Still, I stand by my thesis: most current fiction, especially in America, and especially if we consider the literary stars, is neither engaging nor significant, and I want to consider why that is and what can be done about it.

A Philosopher on Writing

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Arthur Schopenhauer - German Philosophy - Deutsch Idealismus - Deutschland Ostmark - Peter Crawford

4/26/16 — A Philosopher on Writing

One of my favourite philosophers, Schopenhauer is especially interesting for writers because he has a cogent Aesthetics and addresses writing specifically, which few other philosophers do. For instance, he declares that there are three kinds of author. The first are those who write without thinking; this is the largest group. Who can doubt this, even among writers of so-called literary fiction? Most tell stories merely for the sake of it, so as to “express themselves.” The second group consists of those who think while writing, in order to write. These too are common, according to him. Lastly, there are those authors who think before writing, and write because they have thought. Rare, says Schopenhauer.

Does Fiction Need Philosophy?

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Does Fiction Need Philosophy?

American writers rarely seem to have any formal philosophical training, wrote David Joiner to me recently (I am paraphrasing). Reading Flanagan’s biography of Yukio Mishima, he had been struck by how strongly and consistently the Japanese novelist’s work had been infused with his ideas, which amounted to a coherent philosophy concerning beauty, purity, and honour. Joiner, who is himself an accomplished novelist (Lotusland, Guernica Books, 2015), speculated that all great fiction probably has an underpinning of philosophy.

Can Fitness Help You Become a Better Artist?

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Can Fitness Help You Become a Better Artist?

Living as we do in a world of Cartesian duality, most people would probably say, of course not. You use your mind when you’re writing; the body is irrelevant. It’s taken for granted that mind and body are distinct things that have very little to do with one another. And in the West, most people are much prouder of their brains than their bodies; I’ve never understood why, since both are largely inherited

A (Less Insular) Reading List for Students

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Having taught in an American university writing program for a dozen years, I am convinced that what my students need more than anything is to read more, and to read differently. Many of them do read a lot, but they are reading American writers and very little else. Recently I discovered that two of my most gifted graduate students had not read Graham Greene, which flabbergasted me. And this is not their fault–it’s the fault of the professors who keep feeding them the same predictable stuff. The obvious weakness of the contemporary fiction scene in the US (and of “Program Fiction”) is its homogeneity and its insularity.

Do You Know the First Thing About Writing Fiction? (It’s not craft!)

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Do You Know the First Thing About Writing Fiction? (It’s not craft!)

I’ve been thinking a great deal about how creative writing is taught in the US, about its strengths and weaknesses, and it seems to me that its great strength is that we teach craft very well, so well that there has probably never been a society that turns out so many competent, professional writers. As the Poetry Editor of a national magazine told me at AWP this year, most of the submissions he receives are technically accomplished—and yet very few of them are worth reading. Or as Robert Olen Butler describes his graduate students, they know nine of the ten things that fiction writers need to know very well—but they don’t know the first thing.

Tell, Don’t Show

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9/26/15 – Tell, Don’t Show

Show, don’t tell is such an axiom of creative writing programs, and indeed of advice given to writers in general, that it is rarely questioned. The most recent author to visit the university program where I teach, for example, gave this advice to our students—and of course it’s sound, especially for the beginning writer, who is much more likely to err on the wrong side, of summary and exposition, including so few scenes that the writing remains dull. No less a master of fiction than Joseph Conrad said that the novelist’s task was to make the reader see, and who can doubt that that entails writing dramatic scenes most of the time? All the same, I have been pondering this question a good deal lately, and would like to share my reflections on why “show, don’t tell” has become such an unchallenged axiom—indeed an almost sacred Commandment—particularly in the United States, and what interesting alternatives to this strategy there might be.

The Seven Basic Plots

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The Seven Basic Plots by Christopher Booker
Review by Garry Craig Powell

Subtitled Why we tell stories, this book, which took the author 34 years to write, is not only Booker’s magnum opus, but one the great works of contemporary criticism. Building on Jungian archetypal psychology (and who isn’t a Jungian?) Booker’s thesis is that we read stories because we need to, in order to make sense of our lives, and more specifically because stories provide us with a blueprint for what Jung called individuation. For this reason, he contends, stories from all over the world, whether folktales or highly refined literary forms such as epic poetry or the modernist novel, or for that matter lowbrow entertainments like the James Bond movies, all tend to follow one of seven basic plots.

Pompeii and Wolf Hall: Two Kinds of Historical Novel

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Pompeii and Wolf Hall: Two Kinds of Historical Novel

By Garry Craig Powell

I have just finished reading, back to back, Robert Harris’ Pompeii and Hilary Mantel’s Wolf Hall. Both are international bestsellers; both deserve to be for the quality of the research and the vividness of the writing; both authors are English and middle-aged. (One of them, Harris, is like me an alumnus of Selwyn College, Cambridge, and was, I believe, in residence while I was, but if I met him, I don’t remember.) Both are worth adding to your summer reading list, if you haven’t read them already. Still, there are some major differences between them, which illustrate, for me, the two main categories of historical fiction, so it may be useful to consider their qualities in a little more detail.