Synchronicity…and Joy

“Like many societies, the novel is a hybrid construction pretending to be an organic miracle. From its beginnings, fiction has had borderless relations with nonfictional sources, has found ways to incorporate and exploit journalism, biography, historical texts, correspondence, advertisements, and images. But, since fiction is an invention masquerading as a truth, the riot of intertextuality is often craftily smoothed into a simulacrum of orderly governance: these different materials, the novelist seems to say, possess an equivalent fictionality, and just naturally belong together like this–trust me. Some of the pleasure of reading novels, perhaps especially modernist and postmodernist ones, has to do with our simultaneous apprehension of invention and its concealment, raw construction and high finish. We enjoy watching the novelist play the game of truthtelling.” James Wood, The New Yorker (June 23, 2014)

A lot of three-dollar words there (sorry), but a rather splendid idea, and one I had been thinking about all day, even before coming home and finding that a new issue of The New Yorker had arrived.

My new writing project is a novel set in 1926. Its point-of-origin is a family story, an anecdote really, about my great uncle and his courtship of a married woman. I know NOTHING about this, mind you, only the anecdote, that’s how my family tells stories, one line. But that’s been enough to entice me into creating an entire fictional world around a couple in a small town between the world wars.  My main character is the woman, and I’ve made her husband (the current one) her second husband. Her first, the love of her life (or so she thought) and the father of her two children, died in the Great War.

While getting my initial 30,000 words scribbled and typed (now at 23,000…and another notebook still to be transcribed) one of the issues I’ve wrestled with is HOW to bring the Great War more into focus. Yesterday, I found a book of oral histories, The Last of the Doughboys, by Richard Rubin, which is basically an answer to prayer. Interestingly enough, the timeline I had developed for my married woman and her first husband exactly fits with the history of the 91st Infantry Division, which started out from Camp Lewis near Tacoma, Washington.  Synchronicity. Or a big old miracle. Anyway, that was my moment of joy yesterday, sitting in a book store with a grin on my face, lapping up the pages.

That, and meeting a dog trainer last night who totally “gets” our dog.

 

Choosing Joy

P1040244I am writing about a character who, in the first stage of her journey (of my journey with her), realizes that she no longer feels joy. It’s something she experienced in the past–when she fell in love with her first husband, when her children were born. But now she is just slogging through life. She doesn’t see how it can be any different. What I need to do (writing this) is figure out what wakes her up and makes her see differently–to see that she has a choice.

So I have been thinking about choice. Even though I’m writing fiction, I find myself thinking about the choices I make that I don’t think of as choices…that I think of as impositions, burdens, millstones around my neck.

What if, when one of these impositions or burdens or millstones appear, I stopped and thought. Do I have to pick that up? Is that mine?

What if I said no?

What if, when someone says something to upset me, instead of becoming upset myself, I asked for clarification?

Creativity is, itself, a choice we make. I get to choose how this character gets joy back into her life. I also get to choose my own moments of joy. Can I choose joy? What might that look like today?

 

 

 

Jhumpa Lahiri on the Writing Process

I found this video at Aerogramme Writer’s Studio, and wanted to share it.

“We are graced and limited by our own pair of eyes.”

Writing with Witnesses

P1040083Yesterday the Writing Lab had its fifth annual end-of-year party and reading. I wanted to post something–even though today has been a little crazy at my house–just to say “What an amazing group of people.”

We are a small but dedicated band of writers, all of us in some way associated with Everett Community College. We meet once a week for an hour and half. And we write. We are not a critique group, though after we write for 40 minutes or so, we are welcome to read some work aloud, and sometimes there is a very gentle critique. Mostly what we do is witness one another. In fact, one member, Louise, calls it “Writing with Witnesses.”

For a long time, when I was teaching alongside everything else I try to do, the Writing Lab kept me alive. I have a very sturdy habit of writing in a journal every morning, but writing for an audience, even a very small, intimate audience of 3 or 4 other writers is a gift.

If you’re looking for a writing group, you may want to think, first, about what you want from your writing group. Maybe you’re ready for critique, but if you’re not, you will still benefit from having some witnesses to your process. (Lauren Sapala wrote about this topic on her blog this week, too.)

Good luck finding your witnesses.

And thank you to mine (on the blog, too!).