The smart thing to do

Goodbye Swiss winter, roll on the spring!
Goodbye Swiss winter, roll on the spring!

Is it generally the same type of person who thrives in society, regardless of the social or economic climate? Or are different qualities useful in different systems? I suspect you need to sell a little of your soul to get by anywhere.

I was listening to an ABC documentary recently about the history of adoption in Australia and it made me think (with a shudder) about the winners and the losers in a conservative society with zero tolerance of pregnancy outside marriage.

It was a time of limited opportunities for women when being a married at least guaranteed respect and opened the door to a celebrated occupation – married motherhood. So if you were smart you conformed.

A bit like joining the Communist Party in the Soviet Union.

John McGahern’s memoir of growing up in mid-twentieth century Ireland, apart from being a wonderful book, is an excellent piece of social history. In it he illustrates some of the routes to respectability and a decent living, which required people to cling like limpets to the apparatus of the Church and State.

“The year was 1953. In the 1950s a half-a-million people emigrated from this small country, nearly all of them to Britain, far more than in any other decade in the entire century. These emigrants were young and poorly educated, for the most part, and ill prepared. … The men sold their physical strength, the women their willingness to work long hours.”

And the winners? As McGahern puts it, the State had become a theocracy in all but name.
“The Church controlled nearly all of education, the hospitals, the orphanages, the juvenile prison systems, the parish halls. Church and State worked hand in hand.”

McGahern was offered a place at St Patrick’s teacher training college, full board and tuition paid with guaranteed employment at the end. Needless to say, he accepted it at once. His books were later banned in Ireland and he was dismissed from his teaching job but at this early stage in his life, McGahern had to conform and take what was available.

During the economic boom, those hard old days seemed as real and relevant as a dated movie. Post 2008, the Celtic Tiger is looking pretty dated and unreal too. What was normal then seems unbelievable now.

But even the boom had its losers at the time, lest we forget. There were many who just plodded along looking bewildered during those years. Priced out of the areas they grew up in, paying exorbitant rents to live in flatland, they were there. And something was holding them back.

They were unwilling or unable to follow the new rules. Rule 1: Get on the property ladder. Rule 2: Enjoy your disposable income. If you were smart, you conformed.

How people interact with the rules that surround them is great fodder for fiction. When I sat down to write my novel, it was set at just this time in Ireland’s recent past. And the people I feature and favour in the novel are mainly those who did not naturally flourish in the new climate of prosperity.

Do you ever think about what rules operate in society? And if so, have you played by them to get to where you are today?

Regrets, I’ve had a few

suit

One of the highlights of English class in secondary school for me was being introduced to short stories. One that I remember vividly is Brendan Behan’s The Confirmation Suit, a story about regret that beautifully illustrates the dilemma of being caught in a social bind. When reading this story, most of us were fresh from doing our own Confirmation (a coming-of-age ritual in the Catholic Church in which a lot of importance was placed on the new outfit bought for the occasion). Behan couldn’t have found a more receptive audience (albeit posthumously) for this iconic Irish story.

The boy in Brendan Behan’s story was obliged to accept a kindly neighbour’s offer to make a suit for him for the big day. An elderly seamstress who normally made funeral habits, Miss McCann was not blessed with a great sense of fashion and the writer gets great comic mileage out of the child’s embarrassment and his father’s amusement at his predicament. This must be why the unexpected sad turn of events produces such a memorable punch.

This description comes half-way through the story:

When I made my first Communion, my grandmother dug deep under the mattress, and myself and Aunt Jack were sent round expensive shops, I came back with a rig that would take the sight of your eye. This time however, Miss McCann said there wasn’t much stirring in the habit line on account of the mild winter, and she would be delighted to make the suit if Aunt Jack would get the material. I nearly wept, for terror of what the old women would have me got up in, but I had to let on to be delighted, Miss McCann was so set on it. She asked Aunt Jack did she remember father’s Confirmation suit. He did. He said he would never forget it. They sent him out in a velvet suit, of plum colour, with a lace collar. My blood ran cold when he told me.

The stuff they got for my suit was blue serge, and that was not so bad. They got as far as the pants, and that passed off very civil. You can’t do much to a boy’s pants, one pair is like the next, though I had to ask them not to trouble themselves putting three little buttons on either side of the legs. The waistcoat was all right, and anyway the coat would cover it. The coat itself, that was where Aughrim was lost.

I’ve just finished reading Big Brother by Lionel Shriver and it wasn’t until I finished the book that I realised how personal the story was to the writer. She wrote the novel after her older brother died of obesity-related illness. Shortly before he died, when it seemed he might recover, Shriver considered taking him. She enquired about bariatric surgery at the hospital where he was being treated and even imagined bringing him home to recover in her house in New York. In the end her goodwill was never tested because her brother took a turn for the worse and died.

But Shriver went on to write a story about a woman who gives up her home and marriage to move in with her morbidly obese older brother to help him lose weight. The book is steeped in regret and raises that difficult question that often arises after the death of loved one: could I have done more?

In the story I have written, the main character has always had strong motherly feelings towards her younger brother and she feels enduring grief at his disappearance, for which she partly blames herself. In that sense it is about regret but later it explores the problem of how far it is possible to save another person bent on self-destruction.

I’ll leave you with the image of Behan’s boy standing in the rain wearing that silly suit. It encapsulates what is tragic about the end of childhood – the loss of innocence, the feeling of being misunderstood, the first taste of regret.

I needn’t have worried about the suit lasting forever. Miss McCann didn’t. The next winter was not so mild, and she was whipped before the year was out. At her wake people said how she was in a habit of her own making, and my father said she would look queer in anything else, seeing as she supplied the dead of the whole quarter for forty years, without one complaint from a customer.

At the funeral, I left my topcoat in the carriage and got out and walked in the spills of rain after her coffin. People said I would get my end, but I went on till we reached the graveside, and I stood in my Confirmation suit drenched to the skin. I thought this was the least I could do.

Breaking every rule in the book

“Never let a manuscript hit the ground. Keep them in flight – working for you.” That was the advice I heard from Mike McCormack at a seminar organised by the Irish Writers’ Centre in November. This is a man who tried forty publishers before he got a deal for his first book. At the moment I have two little birds in flight but I’d like to do better than that and declare February a submissions month.

The timing is right because the novel, now that the rewrite is done (let’s call it the second draft), is going to be banished to a drawer again, almost a year after its first banishment, which in retrospect was too short.

Looking back, I don’t know why I didn’t prepare a little better before embarking on this writing marathon. Along the way I have broken every rule in the book.

It started with too many sub plots. A novel, like a good meal, needs the right ingredients and a little bit of planning. You are unlikely to delight your guests if you throw everything you have in the cupboard into the pot. When I removed the extraneous bits and pieces from the book, the debris resembled the collection of things you might see extracted from a dead shark’s stomach (just to stretch the digestion metaphor ever so slightly).

There were also too many goddamn people in the book. It got so bad they were bumping into each other and there was nowhere to sit down. I’ve done my best here but things still a tad crowded.

Not only that but I fell into the trap of dumping back story in the opening chapters like it was going out of fashion. For every one step forwards, my main character was taking thirteen steps backwards, way back into her memory and the more distant past, reflecting on her childhood, relationships, current life situation – anything rather than get on with the story.

Did I mention that I changed the point-of-view of the novel too? Somewhere around the end of November I had a crisis of faith (another one!) and came to the conclusion that the book would work better if it was told in the first person. I tried out a reworked chapter on the members of my writing course, got their blessing and the big conversion began.

There was also the small matter of multiple breaches of the show don’t tell rule, which I dealt with in a previous post.

Also on the subject of showing, I made the classic mistake of showing too soon. Under the illusion that the novel was ‘finished’, I asked for feedback before I had a clear idea of where I was going with the story – and before I had weeded out the indigestible matter.

Which brings me to the final point, the only piece of advice I feel qualified to give to anyone wanting to write their first novel. Do not put finger to keyboard until you have a clear sense of direction for the story. Something like this perhaps:

Girl in tribal Pakistan wants to be a doctor, makes a bargain with local warlord to sacrifice her honour for her dream. He pays her way through medical school but will she ever really escape the clutches of the evil Khalid?

Of course it will evolve as you write but so much better to have the roadmap there.

You might wonder whether I have managed to rescue a coherent piece of fiction from this muddle. I’d like to think I have, or at least that I am well on the way there. But we’ll see when the manuscript comes back from the cooler.

Another speaker at that seminar in Dublin, Dave Lordan, said he had always found it essential to take time away from everything to work on a manuscript. “That time and concentration will lift the manuscript. It won’t happen if you do two hours here and there.”

It would be nice to make a date with the manuscript after its return from exile, a mini-break away from all the other demands and distractions of life, just the two of us. Here’s hoping. Has anyone else managed to steal time away to write? Sounds like heaven to me.

Ps. This blog is one year old today!

pink-cupcake-candle-illustration-19566495

‘The Impositions of the Body’

Image courtesy of Stuart Miles at FreeDigitalPhotos.net

A paper cut, a sore throat, a sprained ankle – these are the little reminders that the body is fortress that is all too easily breached. I’ve just thrown away my crutches after a minor foot injury and I’m so relieved to be back to normal, defence walls mended – until the next time.

A while back I wrote of review of Still Alice by Lisa Genova, a beautiful portrayal of a woman going through the onset of Alzheimer’s – a wonderful novel which has won a place in my top ten forever. In the same blog post I mentioned So Much for That by Lionel Shriver, which also has illness as one of its main subjects. In this story Glynis, the rather unsympathetic wife of the main character Shephard, is going through aggressive and debilitating treatments for cancer. There is a passage in the book where we get an insight into what Glynis has learned from her difficult experience. I find it bleak but fascinating.

“Before Glynis had become something of a mystery to After Glynis. … This Before Glynis was a woman, she gathered, who had enjoyed the luxury of vast tracts of time unfettered not only by the need to make money, as Shephard was forever harping on about, but – all that really matters, it turned out – by the impositions of the body. This was a woman who was “well”. (Perhaps more than any other quality, this theoretical state eluded the After-Glynis grasp. But only as an experience. As a concept, she understood being “well” better than anyone else on the planet.) For After Glynis had discovered a terrible secret: There is only the body. There was never anything but the body. “Wellness” is the illusion of not having one. Wellness is escape from the body. But there is no escape. So wellness is delay. What had Before Glynis – Well Glynis, Pre-Inorexably-Going-To-Be-Sick-Any-Minute-Now Glynis, done with her free ride, her gift of the soon-to-be-revoked illusion that she was not, after all, a body – a body and only a body?”

Another passage about illness that made a big impression on me comes from The Diving-Bell and the Butterfly by Jean-Dominique Bauby. This unforgettable memoir was dictated by Bauby who suffered a massive stroke and was left paralysed and unable to speak with Locked-In Syndrome. It must be the only book which was dictated by blinking one eyelid (he describes the technique in the book).

“In fact it is in my respiratory passages that I can hope for improvement. In the long term, I can hope to eat more normally: that is without the help of a gastric tube. Eventually, perhaps I could breathe naturally, without a respirator, and muster enough breath to make my vocal chords vibrate.

But for now, I would be the happiest of men if I could just swallow the overflow of saliva endlessly flooding my mouth.”

Although Bauby laments all that he has lost, the book is not an exercise in self-pity but a record of what is beautiful and precious in life.

Has anyone else come across interesting books that deal with the subject of illness? Or is it something you have written about yourself?

(Image courtesy of Stuart Miles at FreeDigitalPhotos.net)

Act II, Scene 1: Return to Switzerland

Home away from home
Home away from home

When there is a scene change in a play, the lights go down, the stage hands scurry in and skilfully whisk away the furniture and props, replacing them with whatever is needed for the new scene. The backdrop changes. The audience waits expectantly. A moment before, the actors were in a sunny garden having a tea party; now we find them on a battlefield, in a kitchen, a schoolroom. And the action continues.

The scene has changed for me again and the action continues. Yesterday I drove to work in the pre-dawn light and returned home at dusk. It was all so familiar, driving along the Swiss motorway, the Alps, crowned with pink-tinged clouds, providing a beautiful, distracting backdrop, the news headlines in German and me concentrating on the words, the road, the scenery.

When you move countries there is no such thing as a gradual change. You emerge from the plane and that is it. The dreamlike state of travelling is over and you have left the other behind, utterly. I’m amazed at how quickly I have adjusted and fallen back into this new/old life. The big goodbyes of last week seem a million miles away, or 1,200 kilometres to be precise.

Having had the luxury of spending so much time with Irish friends and family, it is frustrating to have to revert to long-distance communication again and to think in terms of future visits. The main consolation is that I now have the luxury of spending time with Swiss friends and family and making the most of this wonderful place.

Belated season’s greetings to everyone who follows this blog, as well as to new visitors. You may be pleased to hear that I will have less to say from now on about me the emigrant (you’ve been very patient!) and more to say about me the writer. Assuming I can keep up the momentum, in 2014 I will be blogging more about my novel and other writing themes. Thank you all for your presence and positive comments throughout the year.

Athbhliain faoi mhaise daoibh go léir.

The tyranny of show don’t tell

I’m so constrained by the show don’t tell writing commandment these days it feels like working with a straightjacket on. For those not familiar with the concept, it is deemed to be the hallmark of good writing that the author shows you what emotion or dynamic is at play (through dialogue, body language, behaviour, surroundings) rather than telling you. Telling it straight is like burning a church (incidentally, my grandmother once told me that mashing new potatoes – I was going through a mashing everything phase – was like ‘burning a church’ and I’ve since discovered that this was something of an exaggeration and in fact no charge of sacrilege can be brought connected to potatoes).

At the risk of stretching the point a little, may I present:

The Climax of Goldilocks and the Three Bears, shown not told (translation in brackets).

Goldilocks was woken by the sound of heavy footsteps, the scrape of claw on wood. Through half-closed eyes she noticed large shapes blocking out the light. Her hands flew to her throat, which filled with a silent scream, when she realised she was in the presence of three bears.

(Goldilocks woke with a start when the three bears came into the baby bear’s room. She was desperately frightened at the sight of the bears.)

“Someone has been sleeping in my bed,” said the smallest bear, jumping up and down, his voice unnaturally high, “and here she is!”

(“Someone has been sleeping in my bed,” said the baby bear, full of excitement, “and here she is!”)

Goldilocks leapt out of the bed, climbed out the window and ran away, the muscles in her little legs aching as her feet pounded a rapid rhythm on the forest floor.

(Goldilocks jumped out of the bed, climbed out the window and ran away as fast as her little legs could carry her.)

God it’s exhausting!

Caught looking for the best bits

Bring in the critics
Bring in the critics

It is surprising, when you say you are writing, who is interested in seeing the manuscript and who is not. Some people are (understandably) afraid your work will be terrible and they will have to damn it with faint praise. Others are genuinely not interested.

In my writing course I have got used to sharing extracts from my book and hearing feedback. It’s been a helpful and positive experience. It’s also been stimulating to listen to other people’s work in progress, as much to get a sense of what’s going on behind good writing as to learn more about the common pitfalls.

The other day, in advance of my next reading slot coming up in the writing course, I was with my writing buddy in the most unfashionable café in county Dublin, scanning my chapters trying to pick out the right excerpt to share.

What to choose? I interrupt my writing buddy for the fifteenth time that hour and hope that look does not mean he is rethinking our weekly arrangement of writing together. Well, he says, are you sifting through your novel looking for the best passages? Cue guilty smile. And what if I am?

The problem with writing a novel, I have realised, is that every page has to work and that requires great persistence and attention to detail. Nobody will wade through the clunky bits to get to a gem they don’t even know is there.

And the other thing about the best bits – they’re probably not that great after all. I think Samuel Johnson may have hit the nail on the head in the 18th century.

“Read over your compositions, and where ever you meet with a passage which you think is particularly fine, strike it out.”

Bowing to good advice

Keep it simple
Keeping it simple

When you’ve wanted to write for a long time and you finally get started, something wonderful happens. If you’re lucky it can be like striking oil. You hit the seam and the ideas come gushing out – characters, storylines, scenes and themes flow onto the page in great abundance.

But, like an oil gusher, things can get very messy very quickly.

And you’re so happy about the oil, you hardly notice.

Over the past couple of weeks I have been offered some very good advice from various quarters – and it hasn’t been easy. In particular, I was talking to a good friend who knows her stuff when it comes to writing. She listened to me describe the knots I’ve been tangled up in on the second draft.

I’m passing on her advice, in case it applies to any other first-timers who might find it helpful. With all that’s going on in my novel, I had been finding it difficult to make the most important themes and storylines rise above all the rest. The deadline to enter the Irish Writers’ Centre Novel Fair is approaching fast and in my heart I knew something was not right in my manuscript.

My friend hit the nail on the head when she pointed out I had too many themes. Write down all the themes, she said, and decide which ones are central to what the book is about. Many of the others can be taken out and saved for another time, another place.

Of course I knew she was right but I was scared of the implications of this advice. It took me several attempts to even begin the process of cutting and I started to waver. What if it just couldn’t be done and the story wouldn’t work anymore? What if it was too late to change?

But I’m happy to report that I did find the courage and the insight to make the big changes. And things are looking a lot better now. Now for the next challenge – the synopsis!

Famous last words

Image courtesy of arztsamui at FreeDigitalPhotos.net

How many of you are bold enough to read the ending of a book before beginning it? I might take an occasional guilty peek but only when a novel begins to drag. As a rule I am an obedient reader and let the author lead the way. Also when I am enjoying a book, the ending becomes ever more precious and I want to appreciate the full power of the finale.

There is a popular notion that a writer has to capture his or her potential reader on the first page. With all the emphasis on the opening of a novel, I haven’t been giving that much thought to endings but as far as any lasting impression of a book goes, the ending has more weight. It is the place where you are likely to hear the author’s voice most clearly and often find the real message of the book.

To the most recent example: I have just finished On Chesil Beach by Ian McEwan, a wonderful depiction of lost love. The private hell of the newlyweds’ wedding night is beautifully portrayed but it is the row on the beach after Florence and Edward’s doomed attempt at lovemaking that broke this reader’s heart. The two main characters are trapped in an escalating argument where they find themselves saying the most hurtful and reckless things to each other, simply because honesty is impossible.

So it makes perfect sense to me that McEwan ends the novel back at the beach on that fateful night, with the message that not even a lifetime of regret can undo the consequences of our actions, or in this case, inaction.

On Chesil Beach he could have called out to Florence, he could have gone after her. … Instead, he stood in cold and righteous silence in the summer’s dusk, watching her hurry along the shore, the sound of her difficult progress lost to the breaking of small waves, until she was a blurred, receding point against the immense straight road of shingle gleaming in the pallid light.

Here are a few more endings for your enjoyment:

The Gathering by Anne Enright

Gatwick airport is not the best place to be gripped by a fear of flying. But it seems that this is what is happening to me now; because you are up so high, in those things, and there is such a long way to fall. Then again, I have been falling for months. I have been falling into my own life, for months. And I am about to hit it now.

The Sense of an Ending by Julian Barnes

And I thought of a cresting wave of water, lit by a moon, rushing past and vanishing upstream, pursued by a band of yelping students whose torchbeams criss-crossed in the dark.
There is accumulation. There is responsibility. And beyond these, there is unrest. There is great unrest.

A Week in December by Sebastian Faulks

A rare surge of feeling, of something like vindication, came from the pit of his belly and spread out till it sang in his veins. As he stood with his hands in his pockets, staring out over the sleeping city, over its darkened wheels and spires and domes, Veals laughed.

I’ve got to say McEwan with his “cold and righteous silence” is my favourite here but maybe that’s because I’m still under the spell of the book.

(Image courtesy of arztsamui at FreeDigitalPhotos.net)

Switching the novel to sustainable energy

(M1energysolutions.com)
(M1energysolutions.com)
You know that feeling when you just make it to a socket at the last moment before your laptop dies? That’s how I felt crossing the threshold of the Irish Writers’ Centre on Monday. It’s going to be OK.

This novel that provided its own fuel for the first year has been draining me since then and needs to be switched to sustainable energy. What better source than the positive energy of fellow writers? I want to get the manuscript into the best possible shape and send it on its way to make room for the next book. This course is the boost I’ve been looking for.

Somewhat dishevelled from the blustery walk up O’Connell Street, I held my paper cup of tea and looked around in excitement and wonder. These people, I realised, are just like me and finally we have come out of the woodwork. We’ve been squirrelling away words for months or years, storing up the stories we want to tell. Now is our chance.

I had the experience of reading out the opening of the book to a group for the first time and it went well. My relationship to the work is different now that it’s been exposed a little. That feeling of working in a vacuum is gone and I can see more clearly now what needs to be done. The feedback was encouraging and useful, under the kind and expert guidance of Conor Kostick.

Even though I didn’t have to use my one-line pitch last night, here is what I have come with. I realise I have two lines here but surely the concept is not that literal? It’s also possible that I have veered towards writing the blurb rather than the pitch. Do they necessarily have to differ?

Set in boom-time Ireland, this is a story about people, what they bring to our lives and what they take away. Haunted by the disappearance of her brother years before, when Laura is caught up in an emotional and professional disaster, she has to find new faith in family, friendship and love.

I may have to go back to the drawing board on this one.