The Literary Sketch

The literary sketch was very popular with Victorian readers. Today, however, the form has largely disappeared. I suppose our dislike, as readers, for long narrative passages is primarily the reason. We seem to crave action and dialogue. Perhaps our shortening attention spans are also part of the problem. In this era of Tweets and sound bites, a page of descriptive prose is too much for us to digest. Perhaps.

Yet we also live in an age where we’re encouraged to be in touch with our feelings, where the more reserved amongst us are pejoratively characterized as being robots or ice maidens. In such an era as this, one would think the sketch, with its appeal to emotion, would be back in vogue. Sadly, though, it is not.

The sketch isn’t just an emotive piece, for it appeals to all of the senses. In that sense it is a sensual piece of writing and by appealing to the senses, it moves one subtly. And the nice thing about the sketch is that it is not a propaganda piece. It’s point is not to persuade, but to enlighten. Although an author can certainly shade one’s feelings and sensibilities into certain directions. By means of the sketch, we see a scene through the narrator, as it were. The narrator’s senses become our own.

I’ve been fond of the sketch as a form of entertainment for many years now. To hopefully whet your appetite for the form, you may find “A fluttering on the floor” a perfect introduction to the form. I know I loved it the moment I read it.

There are many collections of sketches and since they’re generally no longer under copyright, you can obtain them for free. Nathaniel Hawthorne’s Sketches from Memory is well worth reading and may be obtained for free from Project Gutenberg. Anthony Trollope’s Traveling Sketches and Hunting Sketches are also available for free from Project Gutenberg and are fine examples of the form.

As one reader to another, I encourage you to give the sketch a try. It’s something old, yet it fits very well with our graphics oriented culture. For a good sketch is a picture in words.

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Heinlein’s 5 Rules of Writing for Indies

The other day I was wandering around Dean Wesley Smith’s website and noticed he has an online workshop covering Robert Heinlein’s 5 Rules of Writing. It had been quite a while since I’d read them (we’re talking decades here), so I refreshed my memory. I found a discussion on Robert J Sawyer’s website.

Both Heinlein and Sawyer direct the rules to those who want to be traditionally published. For Heinlein, he had no option. For Sawyer, he is entrenched in the traditional world and has no need to change them. However, I have little desire to pursue the traditional publishing route and thought I’d adapt them for indie authors. So here they are:

Heinlein’s 5 Rules for Indie Writers

#1-You must write

This should go without saying and yet so many writers don’t ever actually write anything. They talk about writing, take courses, frequent writing forums, or dream of the writer’s life. But when it comes to putting pen to paper or fingers to the keys — they don’t do it. Or if they do, and actually finish something, they are forever rewriting it because it isn’t quite good enough.

To be a writer, YOU MUST WRITE.

#2-Finish what you start

You can’t be a writer or even learn the writing process unless you finish what you start. Weak beginning? Flabby middle? Dull ending? Unless the work is a completed whole, you can’t see what works and what doesn’t.

In my forth coming novel, But Jesus Never Wept, I knew I was having problems in the middle. I resisted the urge to stop and fix them and bulldogged to the end — and then went back and fixed the problem areas, which were fewer than I had thought.

#3-Don’t rewrite, unless your editor says so

Rewriting is not writing. Writing is writing.

When I was submitting and getting my poetry published on a regular basis, I’d watch many poets on various forums rewrite the originality right out of their work. They’d end up with a flabby, lifeless thing done to death by committee.

Resist tinkering. We can tinker endlessly. There is always something that can be improved. But at some point you must resist the urge and say, “It is good enough.” And then move on.

However, if your editor (and all indie writers need an editor, whether paid or volunteer) says something needs to be fixed — pay attention. Ultimately, you are the publisher and may decide to reject your editor’s advice. But if he or she is saying something needs to be fixed, there is a good chance it does. Only then, do you rewrite.

Remember, rewriting is not writing. It’s rewriting. And we are writers, not rewriters.

#4-Put your work up for sale

In the old days, this was submitting your work to editors and gathering rejection slips. Thank God we don’t need to go that route anymore.

Today, the indie version of Heinlein’s point is to offer your work for sale and see if the reading public likes it or not. This is the publishing part of being a writer/publisher. Get the work out there. Promote it. Let the reader decide. Not some biased editor.

And if the public is not enthralled, listen to what they’re saying. But don’t automatically kowtow to their whim. Not everything we write will appeal to everyone. Sometimes you have to go with your gut. If your gut is telling you the work is good, then go with it. Realizing your audience on that particular work may be a small one. Leave the work up for sale and move on. The worst thing you can do is to remove work from sale. Build your backlist.

Which brings us to

#5-Leave your work up for sale

Maybe your book or story isn’t selling today. Or maybe the sales have fallen off. Don’t give in to the temptation to take the work down. That’s the beauty of being a writer/publisher. You can leave your book or story available forever. There is no publisher who is going to remainder it on you. No publisher telling you it isn’t selling enough copies. No editor rejecting your current work because your past work didn’t sell enough.

We can leave our work up for sale for as long as we want. We can market on our own schedule. We are writers and publishers. Our writing career is in our own hands.

Just remember: what isn’t selling today, may very well sell tomorrow.

#6-Start your next work

This is Robert Sawyer’s addition to Heinlein’s rules. And it’s a good one.

You can’t be a writer if you aren’t writing. And rewriting doesn’t count. Because it isn’t writing. It’s rewriting. The prolific authors of the past and those of today, the one’s who are writing to make money from their writing, start a new project upon completion of the old.

Write, publish, and start writing your next work. It is what Anthony Trollope did. When he finished one book, if there was still time left in his morning writing session, he took out a new sheet of paper and started the next book.

Like a mother robin, kick those babies out of the nest to make room for the new ones.

Writer’s write. If you’re stuck on a book or story, start a new one. A writer can always write about something. Don’t let writer’s block be an excuse not to write. I always have several books in progress. If one is giving me trouble, I put it aside and work on a different project. I am always writing. No day goes by that I haven’t written something.

Your mission

Follow these six rules and you will have a steady stream of work coming off our pen and hitting the virtual bookshelves. And with a little bit of luck and marketing handiwork, you may end up earning more money writing than from your day job. That’s my goal.

Happy writing!

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Being Prolific

Some writers are naturally prolific and others aren’t. It is not an issue of good or bad, it just is. One of my favorite authors, Kazuo Ishiguro, sometimes has years go by before a novel comes out. But are they ever good. Margaret Mitchell and Harper Lee certainly wasn’t/isn’t prolific. Yet Gone with the Wind and To Kill a Mockingbird are such tours de force why write a second? Could a second be anywhere near as good?

Beginning in 1847 with his first published work, Anthony Trollope, in a span of 35 years, produced 35 novels, 2 plays, 44 short stories, and 18 volumes of sketches and non-fiction. That is nearly 3 works a year.

From 1939 until his death in 1992, Isaac Asimov wrote or edited over 500 books. That is over 9 a year. Pretty incredible.

What’s their secret?

For Trollope, it was writing 10 pages a day (2500 words). A practice Stephen King also follows. Trollope also used standard plots so he could focus on his characters.

For Asimov, it was simply to write. Leave editing to the editors, he once wrote, that’s what they’re there for. Of course, in today’s world there is no slush pile and no editors to edit. Victims of bottom lines and shrinking profit margins. Agents, beta readers, and editors for hire have taken over what the Big Publishers discarded. Nevertheless, even though the publishing world is different today than in Asimov’s day, he had a point.

Writers write and editors edit. For today’s author, who wishes to be prolific, obtaining the services of a good editor could go a long way towards obtaining that goal of prolificity.

Also key to Asimov’s tremendous output was he wrote fast in a simple and straightforward style. He focused on the story, got it on paper, and let the editor edit so he could write the next story. His stories are also rather formulaic. Writing to formula helps to eliminate plot angst.

Think about this: a 1,000 words a day (that is 4 double-spaced typed pages) will, in 50 days, produce a 50,000 word novel. At that pace, you can turn out 6 novels a year. Want a fatter novel? 75,000 words? You can still turn out 4 or 5 novels a year writing only 1,000 words a day.

Being prolific is within your grasp.

    • Write every day
    • Write to a goal. At least 1,000 words a day.
    • Don’t be fancy. Write simply.
    • If you’re a plotter, use a formula genre plot. If you’re a pantser, keep those simple formula plots in mind to help corral your characters and keep some order.
    • And let the editor edit.

Let me know what you think. Do you have any special tricks up your sleeve? If so, please share!

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The Fabulous Anthony Trollope

Anthony Trollope stands as one of my favorite authors. A Victorian giant. In some ways larger than life. If one had his novels on that proverbial desert island, one would need no other entertainment.

What is it about Trollope that is so appealing? For me, it is his characters. They are real people, dealing with real life issues. Unlike Dickens, who dealt in fantasy and tear-jerker scenes, Trollope simply presented middle-class Victorian life. The few times he deviated from a middle-class setting, he did not stray from a straight forward presentation and let life itself speak.

His first novel, The MacDermotts of Ballycloran, gives us a picture of the horror that was Irish poverty with no fanfare or editorializing. How can one read The MacDermotts and not weep at the plight of the poor? The inhumanity to which they were reduced? Or read his short story “The Spotted Dog” and not be moved by the power of alcoholism to destroy lives? Or feel for Archdeacon Grantly as he wrestles with his guilt over wishing his dying father would die sooner so he’d be appointed bishop to replace him?

These are real people with real problems drawn from Trollope’s personal observations. Nathaniel Hawthorne noted Trollope’s novels were “as if some giant had hewn a great lump out of the earth and put it under a glass case, with all its inhabitants going about their daily business, and not suspecting they were being made a show of.”

Trollope loved his characters and lived with them constantly. Probably why he could write 250 words every 15 minutes, non-stop, for 2 1/2 hours every day. He was a character author and had little use for plot, other than to show off his characters. Which is another reason I so like Trollope. For me, a story is about its characters. The plot, if there is one (and I do think plot is overrated), is only there to make the characters shine — to make them real for us.

In his personal life, Trollope was a driven man. For most of his writing career he also worked full-time at the post office. He is generally credited with inventing the British post box. He was disdained by his mother, who openly favored his brother. His mentally ill father could not support the family, which lived in near poverty. Writing was a means by which Trollope could get the attention and money he craved. And in his case, it provided him both.

Over the years, Anthony’s star has somewhat faded. Although there is a current revival of interest. I heartily encourage you to check out Mr Trollope. His Barchester novels are a good starting point.

Oh, one other thing, if you like reading or writing a series, you can thank Trollope. He invented the novel series.

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The Literary Sketch

My love affair with the sketch goes back many years to my reading of Adventures in Contentment by David Grayson. At first puzzled by the seeming lack of direction the author took, I suddenly realized the “novel” was a collection of vignettes, or sketches, and each one produced a mood of contentment. I was enthralled with the skill of the author in making each chapter a haven of contentment. From the Adventures, I went on to discover other writers of sketches: Washington Irving, Nathaniel Hawthorne, and Anthony Trollope to name three.

A sketch is at base a mood evoking descriptive piece of writing. Perhaps the verbal equivalent of the tone poem. A painting in words. One of the best discussions of the form I’ve found is in a blog post from 2007 on the Siris blog, simply entitled “Literary Sketch”. Do check it out.

The sketch has no plot to it, although there may be movement in the piece. Through the description of the scene, a mood is evoked and that is its strength: to use the power of words to evoke feeling and to perhaps stir us to our very core.

There is a Japanese literary form developed by Basho called haibun, a linking form of prose and haiku, which is very similar to the sketch. Basho composed his travel journals in haibun, as well as writing stand alone atmospheric pieces and essays in the form. I love haibun. It is a brilliant dance of prose and poetry.

If you haven’t tried the sketch, either writing one or reading one, I encourage you to do so. A well written sketch is prose poetry at its finest.

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