When I think of, mrs. Dalloway, i usually remember it as told from Clarissa dalloway's point of view. If pressed, i might recall that it also followed the war-damaged Septimus Warren Smith. What I had totally forgotten is that the novel also follows Septimus's wife, clarissa's husband, Clarissa's old love peter Walsh and many others, including the flower seller Moll Pratt. One reason the movement among many consciousness works so smoothly is that the novel dances on the surface of the observed world. This in no way suggests it is superficial, but rather that it often concerns itself with physical surfaces light glinting on porcelain, the sweep of a gown, the colors of flowers. In woolf's hands, of course, such things are a direct line to memory and deep emotion, and they become a natural way into the characters.
Keeping a writer's journal
She asked herself, taking up her brush again. She looked at the steps; they were empty; she looked at her canvas; it was blurred. With a sudden intensity, as if she saw it clear for a second, she drew a line there, in the centre. It was done; it was finished. Yes, she thought, laying down her brush in extreme fatigue, i have had my vision. On Using the Omniscient point of view fitting Successfully. The omniscient point of view is dangerous: it seems easy you can just tell anything anyhow you want but, handled badly, it quickly begins to look amateurish. Virginia woolf handled omniscient point of view very well, especially in her novel. This novel links its switches from one character to another by the simple device of having them pass one another on the streets of London, and as they pass, the point of view shifts. At one point, an unnamed member of the royal family drives by, and the mild excitement of this event links wealthy suess Clarissa dalloway out shopping for flowers for her party and Moll Pratt the rose seller as well as some random unnamed men.
I think i sat down with the urge to play as I played as a child, but as an adult, the topics I play with tend to be issues legs I see unresolved in this world, and I find I can write about them more directly. This is perhaps practical as a psychological matter: the final lines. To the lighthouse talk about the importance of art to the artist and to the universe, without respect to fame and fortune: quickly, as if she were recalled by something over there, she turned to her canvas. There it washer picture. Yes, with all its greens and blue, its lines running up and across, its attempt at something. It would be hung in the attics, she thought; it would be destroyed. But what did that matter?
I don't know for example what it would be like to have my plan community destroyed by an enemy. I can imagine it and indeed, in my science fiction novel, i'm doing exactly that. What effect will it have on the characters? How will they be changed from their ideology of non-violence? So in my science fiction novel, along with the fun of imagining lavender shadows from the double suns, i can explore the potential results of decisions based on ideology among the humans and the mistakes different sentient species make about one another's motivations. I can experiment with political structures, and I can have my characters be major figures in their world's history. That's not what I sat down to do when I started my genre novel.
All novels, of course and this is why genre and literature are more alike than different create worlds, whether alien planets far far away or south central Los Angeles just after the watts riots of the late sixties. In my science fiction novel I have to spend more time describing my created world than I would if the novel were set in New York city, but frankly, it's a trivial difference because even though I can expect my readers to fill. A failing of much student writing I see is to assume a frame of reference: that we all know certain clubs or monuments, or what certain catch phrases mean, or that we feel the emotion the protagonist does when listening to a certain song from. Genre writing gives me that satisfaction of play from my childhood. I am, at least in the initial drafting stages, manipulating the riders and horses of my little plastic ranch, and clopping them over the floor on great quests by the light of the Christmas tree. But as I play, i've also discovered that, for me, science fiction in particular, offers a more direct way to write about ideas and power relationships. In my realistic fiction, i have mostly written about people and experiences and social action that i am familiar with.
On keeping a (Writing) Notebook (or Three) Brevity
How is writing this book different from writing my other fiction? Occasionally in the science fiction novel, i choose to simplify language for action-but I do that for action in anything I write. I am probably more careful about the geography of for my settings because i want them to be very clear in the reader's mind as the action plays out. In language, i pay a great deal of attention to using words that fit the material culture of the world i've created. I avoid images that include objects or ideas that don't exist on this planet.
This is part of the pleasure though: I delight in world-creating as much now as I did when I was five years old and my parents bought me for Christmas a miniature ranch with horses and fences and people. Much genre writing is simply sloppyhastily written, to meet deadlines, or in the case of some person of the mass of self-published material appearing now, written to satisfy personal needs of the writer. This may also explain some of the popularity of even badly written genre: it is probably scratching some widely shared itch. If I'm going to read it, however, i need a level of clarity and clean writing at a minimum. Along with science fiction, i like good detective and crime fiction and i also like fantasy, if it abides by some set of internal rules.
It was all meticulously written in her delightful, faux naif style, and we could never tell the difference between avant garde and science fiction, except that occasionally the science fiction had some very human aliens. In fact, i believe the best fiction, whether literary or genre, has always combined powerful language with psychological and social insight and story. The way we separate genre and literature in the twenty-first century is, to my way of thinking, mostly about selling, and there is no doubt that writing in certain niches sells far better than others. I've been writing since i was about six years old, and in the beginning, i was above all interested in the stories. What happened to the Indian Princess? What did she do?
I went through a long period in college and after when I saw myself as devoted to high art. The truth is that I have always loved some high art, admired other high art, and reacted to some with a big "meh.". I find myself increasingly, in my later years, reverting to the pleasure of novels with a lot of narrative momentum. In our present literary landscape, this often, although certainly not always, means well-written genre books. The problem with highly polished art writing is the danger of creating only static set pieces bijoux for contemplation and admiration, rather than a river that sucks you downstream through its rapids and sluices. The novel I'm working on now is science fiction, and i've been trying hard to master how to create that river. I'm writing just as carefully as ever, at least in the later drafts. This probably means I'll never be a commercially successful genre writer because it will always take me too long to write a book, and a prime characteristic of successful genre writers is that they keep new product in the pipeline.
A journal of Practical Writing - meredith sue willis
For me, this took a lot of self-discipline. I was glad, though, because once i got over some bumps, the story went very well, at least with the kind of speed read I was giving it, so i was encouraged and ready to get back to work. I've now put the events of the story in a more shredder sensible order that also seems to have the advantage of upping the ante, as they recommend in script writing-that is, the farther they go out into the desert, the more danger there. For those of you who see yourself as artists rather than as suspense-builders, keep in mind that your first several drafts should have given full play to your instincts and inspiration. That comes first: getting out whatever it is that you are interested in exploring. Then, as you step back and begin to reshape and polish your sentences, you may also need to reshape and polish the trajectory of the story itself. This revision technique might help. Literature, genre, and me, msw, i've been trying to understand the difference between literary fiction and genre for a long time. A member of my writers' group used to bring in science fiction for critique sometimes, and sometimes her avant garde work.
I e-mailed it. Doc file to my special Kindle address (if you have a kindle, you have one of these, usually ). I kept a pencil and notebook at my side, and while i couldn't quite make myself wait for the end of the chapter, i did scribble only an occasional note, and tried hard not to copy edit or line edit. I concentrated on the story, and was horrified by various discrepancies: I had made certain revelations more than once, and the first person narrator repeatedly overheard conversations like a regular little spy. The biggest problem, though, was the order in which the characters begin to explore the desert outside their home. I had them learn to ride the local flying aliens out into the desert before they novel took walks into the desert under their own steam. There was a complicated explanation for why they stopped flying to walk, but as I read, the impatient reader in me said, "Duh, why don't they just walk first and learn to fly later?". I wrote myself a long note about what I needed to do, but didn't work on it till I'd finished reading.
these suggestions for revision come from my own experience. I particularly like one that revises the second half or even the last quarter first. I also often do the "search for details" revision where you search through the whole novel for all appearances of a certain character (or place, or important object) to see how that element changes over the course of the novel. I also do housekeeping like checking for catch phrases or words that I tend to overuse shards" and "gazed deeply. What I had never done before, however, was the straight-through read I described at the beginning. Since i'm working on a science fiction novel where story is of the essence, i decided finally to try it, and last month, i read the manuscript on my kindle e-reader.
We expand here, tighten and cut there. We are often very good at apple the trees, but we tend to lose our way in the forest. Others of us, of course, are gifted at plot and story line. We may be natural storytellers, or we may have a clear model in mind that gives structure and momentum: a coming of age novel, a life story. Or, we might be mostly drawn to the possibilities of exploring character, slowing down time, going back and forth in time, examining moments and small details. The best novels, in my opinion, do all these things. The writers of the best novels, however, don't necessarily do the things all at once.
Journal Writing every day: a painless way to develop
I've been giving a piece of advice for many years to students in my novel writing classes: go through your manuscript once as a reader, sitting on your hands. This is, of course, another way resumes of saying "Don't tinker. Don't start manipulating the sentences. Don't edit, just read." Notes are allowed, but only at section or chapter breaks. The aim is to get an overview of plot, story, flow, and momentum. Most of us who love to write are especially devoted to our words and phrases. We are always looking for a better way to say.