This is what many writers are getting wrong, according to Irish short story writer Claire Keegan who passed through Bern this week. Keegan, a woman of strong convictions and deep thoughts, gave a talk and read from her award-winning story Foster.
I couldn’t believe my luck to hear that such a well-respected author was in town and that I could manage at the last minute to go along and listen to her. For Keegan, it is clear that writing is not something to be taken lightly. She spoke passionately about life, love and literature.
Foster is a story, about a poor young girl sent to live with more prosperous relatives for the summer. Written from the child’s point of view in the present tense, the story manages to convey that gulf that exists between children and adults and the disadvantage that children have in their inability to understand what’s going on in the adult world around them. It’s all the more poignant in Foster because the girl comes from a neglectful home and she is being looked after in a loving way for the first time.
As Keegan pointed out: “Love can come from anywhere, it doesn’t matter where.” The author sees herself as a critic of her society. Foster, set in 1970s rural Ireland, is in part a commentary on the plight of families forced, because of religious dictates on contraception, to have more children than they could love.
As I writer I was naturally curious to hear what Keegan, who has lectured in creative writing, had to say about the craft of writing.
The first thing that surprised me was that she goes through about thirty (!) drafts before she considers her stories finished. More proof that writing is rewriting!
During this process, Keegan does not give her work to anyone else for feedback, although she did admit she would like to have someone who would look at her manuscripts as closely as she does but from another perspective.
She explained that having spent decades reading attentively and developing her own taste, she trusts her own taste. A good place to be.
On the subject of what new writers are getting wrong, Keegan was very precise. In her view there isn’t enough priority given to the story, to the point that the story can be completely buried by the writing or even missing altogether.
Keegan is quite a purist when it comes to storytelling and confessed that she mostly preferred reading “dead authors”. For it to be a story something has to happen in a defined space of time, something irreversible that the character would take back if they could, she said.
Nowadays there is “too much statement and not enough suggestion”. Readers have to endure pages of analysis about the character before they even have a chance to go through something with them. In other words the analysis has not been earned.
Keegan is a great believer in “turning down the sound” and observing what people do with their hands and feet and eyes. That’s where the truth is, she said, and that is what she writes about. She won’t tell us someone is miserable and proceed to tell us why over many pages. She will show that misery and the context and let the reader reach their own conclusions.
Finally I liked what Keegan had to say about the elegance and efficiency going hand in hand in good writing. Not something that can be achieved in every blog post, but a good standard to aspire to in fiction.
The event was held under the auspices of the Swiss-British Society, Bern and SATE (the Swiss Association of Teachers of English).