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The Write Approach…

by Liat Kirby-Nagar

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On achieving ‘truth’ in writing … ("The Write Approach" col. 6)

Posted on June 7, 2010 by
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As writers we draw on many facets of ourselves for the telling of a story, the creation of a poem.  We utilise knowledge, experience, feelings, sensory perceptions, memories, et al.  As mentioned previously, you have a SITUATION and a STORY; to bring this alive the feelings that belong to it must be acknowledged and then realized as being the actual experience paramount to the story.  Without the feeling there is no story.

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On the discipline within writing, and imagination… ("The Write Approach" col. 5)

Posted on May 5, 2010 by
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The last column focussed on the discipline required within writing and I intended to devote two columns to this subject due to both the importance of it and the confusion that can enter a writer’s mind in relation to utilising emotion, imagination and discipline. Hence this column continues the discussion.

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I have heard some burgeoning writers say, “I write, but I have no imagination, therefore I write with facts and reality as the elements making up my work.”. We will now consider how life experience, knowledge and imagination can be combined to create good writing and, in the process, perhaps alleviate the anxiety sometimes associated with using imagination.

David Malouf said that he can no longer distinguish the reality-based events in his novel Johnno from the events that are the product of his imagination.  And this is something that many a writer can say about their work.  So the question of whether the material of your stories is from your own experience or not can be a tricky one.  When writing fiction you are in the process of creating a world in which you have a certain amount of control over the events.  Some of the elements of such a world are usually (even in stories of wild fantasy) related somehow to the writer’s experience of the everyday world.  An example of this can be seen in Peter Carey’s novel Bliss in which the real world of advertising, with which the writer was familiar, spins out into fantasy which in turn illuminates the central narrative of death and failure in an utterly new and amazing way.

Even if you wish to remain firmly in the realm of non-fiction writing it is good for you to test yourself with invention.  Move out from memory into the realms of fantasy and imagination and give it a try.  At the outset you can’t possibly know what you will come up with, and what does emerge might ultimately be able to be used in all sorts of ways, if not for your current writing, perhaps for a future project.  It will also demonstrate the strengths of combining these elements of writing.

The Australian writer Drusilla Modjeska started out writing a biography of her mother in Poppy and on the way it became fiction as well.  Modjeska invented diaries and letters for her character (her mother) and it is not clear to the reader where the facts end and the fiction begins.  The publisher listed the book as both biography and fiction, and it won literary prizes, sometimes as fiction and sometimes as non-fiction.  We must remember, however, that non-fiction, specifically categorized as such, would run into trouble employing pure invention, as readers would feel manipulated or lied to. The discussion here is an attempt to assist in freeing up the writer in you and showing that genuine cross-genres exist. And remember, even if we are sticking to the facts there is nothing to stop us from writing imaginatively, that is employing the imagination to evoke those facts in order that they be felt or understood well; this is very different to invention.

In Carmel Bird’s guide to Writing the Story of your Life she speaks of the writer having a self-responsibility to get the story right, and a responsibility to readers to get the story right.  Interestingly, what she means by ‘right’ is a rather subtle matter, made-up of the story’s structure, tone, images and language  -  all in the service of ‘the story’.  For example, if the tonality is not right or the language used causes ambiguity or confusion, as a reader we stop, pour over it and try to clarify our understanding.  As a writer, when we come across this in our work we need to figure out exactly what is causing the problem and fix it.  This then can be called ‘trying to get the story right’.

So, the rightness does not reside in the facts alone.  Yes, you try to get your facts right, but the truths and the power of the story are also located in the gesture of your prose  -  in the way you order the information, in the images you select and where you put them, in the tone of the writing, and in what you put in and what you leave out.  In the noises and in the silences.  The reference to ‘what you put in and what you leave out’ and ‘the noises and … silences’ is a very important one, because over-writing or telling too much can create a great busyness in the text, leaving no space for silences that impart implication or tension to engage the reader’s imagination.  Use of imagination by writer and reader is the prime connective device.  The way in which we ‘get the story right’ is the discipline within writing.

I look forward to more contact with the next column and apologize for the lateness of this one.  Any questions or comments are welcome.

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Liat Kirby-Nagar

05/05/2010

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On the discipline within writing… ("The Write Approach" col. 4)

Posted on March 22, 2010 by
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The Write Approach… – col. 4

 

 

Every work of literature has both a situation and a story.  The situation is the context or circumstance, sometimes the plot; the story is the emotional experience that preoccupies the writer, the insight, the wisdom, the thing one has come to say.

[hidepost]The poet, the novelist, the memoirist, biographer, historian  -  all must convince the reader they have some wisdom and are writing as honestly as possible to arrive at what they know.  In non-fiction the reader must believe that the narrator is speaking truth.

In fiction the writing must be good enough to suspend the reader in time and make the world represented in the book a real world for the time spent reading it.  We can come away from fiction with new knowledge and thoughts, just as we can from non-fiction. In poetry the words must be wrought in such a way that they enter the heart and bones of the reader.

The subject of the discipline required within the writing is a large one if we are interested to look at all genres.  For that reason I shall devote at least two columns to it and this is the first.

In many cases a writer’s experiences and feelings will inform their work, whether fiction or non-fiction.  I’m therefore going to draw on an autobiographical work written in novella form for discussion on how to use these feelings and experiences with discipline. French author Marguerite Duras wrote of the dramatic and sensual experiences of her adolescence in The Lover, set in Indochina in 1932.  It’s a short, succinct, stark and pared-back work, with silence and the unspoken threaded throughout as an important feature of the work, exemplified in all the people who emerge.  Of course, there are many ways of achieving discipline within the writing; in this case there’s a complete absence of expressive feeling and yet that in itself causes extraordinary emotional tension.

The situation is that of a fifteen and a half year old French girl experiencing her first sexual love with a rich Chinese man.  They are both obsessed with the sexual experience in their different ways.  The one constant in the work is the power of the desire; this is the element that shapes the prose.  Desire as human connection, desire as a catalyst for power, desire as temporary sublimation, desire as a narcotic.  Desire is the true protagonist of The Lover and is shown in all its complexity.  This is the core, the particular truth this writer is writing about in connection with her life at that time.  It’s also a powerful evocation of aloneness.  Not loneliness, but aloneness.  The writing is ruthless in its honesty and manages to portray this politically incorrect situation in one of the most sensitive and touching of stories.  It’s delicate in its immodesty and tender in its cruelty.

An example:
The sound of the city’s so near, so close, you can hear it brushing against the wood of the shutters.  It sounds as if they’re all going through the room. I caress his body amid the sound, the passers-by.  The sea, the immensity, gathering, receding, returning.

 

I asked him to do it again and again.  Do it to me.  And he did, did it in the unctuousness of blood.  And it really was unto death.  It has been unto death.

 

He lit a cigarette and gave it to me.  And very quietly, close to my lips, he talked to me. // And I talked to him too, very quietly.  //  Because he doesn’t know for himself, I say it for him, in his stead.  Because he doesn’t know he carries within him a supreme elegance, I say it for him.

 

Write from the heart, with integrity and authority, while maintaining a degree of detachment between you and the writing so that you’re not left wallowing in the emotions of the experience; this then becomes discipline within the writing.  To wallow in the emotions is to lose control of the shape and structure of the work and also renders them less powerfully.  Know your persona and the situation you wish to present and the story will tell itself.  Write, then redraft and redraft, as many times as necessary, sticking to the core of the writing at all times.

Next time we’ll continue discussing discipline within writing.  It’s not an oxymoron, in that using discipline doesn’t disengage from the heart in writing, indeed it magnifies it.

[/hidepost]Liat Kirby-Nagar

23/03/2010

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On the ‘freedom’ in writing… ("The Write Approach…" col. 3)

Posted on February 18, 2010 by
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“The Write Approach…” – col. 3

Dear fellow writers,

Liat

The topic for the February column of ‘The Write Approach …’  is inspired by my written conversation with Nicholas Fourikis (03/04 Feb.)  He discussed the freedom, or otherwise, associated with different genres of writing from his perspective.  While we would all agree, I think, that the different forms have their own restrictions and demands, I want to discuss the power and the freedom that goes with working with words ‘imaginatively’ across genres.  Without the use of imagination with any material we are attempting to analyse or associate with, we can only produce a more commonplace prose or verse.

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To illustrate my meaning here I turn to the work of historian, Inga Clendinnen.  Clendinnen is an esteemed Australian historian, winner of international prizes for her work on the Aztecs and Mayans.  She also wrote Reading the Holocaust*, which won the NSW Premier’s Award for General History in 1998 and was the New York Times Best Book of the Year.  It is this latter work I shall to refer to.  One would not think that there would be much freedom, if any, in writing about the Holocaust of World War II.  And yet Clendinnen writes in such a way that we are transported within the world of her text to associate with the human being, singular, within the context of millions murdered, and we see and feel the enormity of the situation through sometimes small, simple details imaginatively rendered.  She writes with acuity and a finely developed sense of the humane.  She writes with imagination.

In the Sydney Morning Herald’s review of the book it was said that “Inga Clendinnen writes like a poet of matters once thought to be beyond art …  We owe thanks to Clendinnen’s scholarly skills, her formidable capacity to read character through text, her sensitivity to language and its silence.”  So beautifully articulated, this summation, a wonderful example of writer and reader resonating together.

Let’s look at some lines from Reading the Holocaust.  Clendinnen speaks of “The celebration of a remarkable witness-source like Primo Levi (who) exposes a core paradox of history writing: our most significant insights into how it was for the many will usually depend on the words of the remarkable few.  …………….. // If we are to understand despair, and fortitude in despair, we need the words of a woman (Charlotte Delbo) who became a writer in Auschwitz when she harnessed the magic of remembered stories to build small dream worlds for her companions in a desert of deprivation and humiliation.  And then, when the deprivations and the humiliations were ended, she wrote to make them real again. ……………. // Writing is a transcendence of experience, not a replication of it.  How then can the experience of abjection of the self be communicated through writing, that most conscious demonstration of self-possession?  As we will see, by supreme and conscious art.”

(pp. 58/59)

Clendinnen goes on to illustrate this with discussion of Charlotte Delbo’s experience and stories.  Consider this simple sentence, made up of historical detail and yet  intensely visual in depiction, calling on the imagination to describe the horrors of daily life, yet keeping it simple without dramatic embellishment; as writing it’s all the more powerful in evocation for this:

Unlike Levi, she was eager to enter her deepest subjective experience as part of the evidence:  to recall on paper her interior monologue as she strove to remain upright during an interminable, snow-swamped rollcall, or as she ran with her frantic comrades through a storm of blows, their aprons filled with earth to make an SS garden.

We must always be aware of the inherent demands of the words insofar as what we are writing for or about.  For example, Clendinnen says that normally we expect the magic of art to intensify, transfigure and elevate actuality.  However, “Touch the Holocaust and the flow is reversed.  That matter is so potent in itself that when art seeks to command it, it is art which is rendered vacuous and drained of authority.”  She goes on to speak of the most effective imagined evocations of the Holocaust, which may be through glancing references or indirection.  We, as readers, already have stored in our minds knowledge of Auschwitz, so any implication in the writing of it will be associated with quickly and directly.  She also speaks of ‘misdirection’ employed in writing (the bodily assumption of the actual into the mythic) such as the famous Holocaust poem by Dan Pagis, ‘Written in Pencil in the Sealed Railway-Car’:

here in this carload
i am eve
with abel my son
if you see my other son
cain son of man
tell him that i

The extreme simplicity and brevity of this poem, as well as the implications it is aiming for, give it its resonance and power.  The fact that it pulls up abruptly in denouement and does not continue with what it wants or has to say, leaves us with the very real feeling of life cut off with an abrupt suddenness.  Note also that the whole poem is in lower case, even the pronoun ‘I’.

I tried to do this myself with my poem from the volume curving my eyes to almonds, ‘Photograph from Auschwitz Albums (Kym Schreiber Exhibition – Jewish Museum, Melbourne, 1996):

this woman
with the
dark heavy hair
that
cloaks her
head
like a
straight
wide
sheet of jet
flashing
black

abundance
set
in her
face
like stone

her hand
semi-raised
against her breast,

this woman
slightly
turned …

Of course, in reading this one must go back to the title of the poem to get any sense or resonance from it. The poem took me two years to perfect and yet what a slight thing it is.

Indeed, perhaps I haven’t done the photograph justice (it had a powerful effect on me), however it’s my attempt to articulate the grim despair of the situation and what I perceived to be the very real waste of strength and beauty, of life, and I did my best with it.

I respect and love all kinds of writing, but believe it is the poets who say the most.  Poetry does invite freedom of expression, but it also demands precise intent and a formidable distillation of words to render and resonate meaning.

The one thing that is crucial to freedom in writing is truth from the heart and the intellect and strictness in that truth; the words seem to flow and create themselves from that source.

Please feel free to comment in any way on these columns, or ask questions.  I would welcome it.

Liat Kirby-Nagar

*Reading the Holocaust, The Text Publ. Co., Melbourne, 1998.

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On the energy in words… ("The Write Approach…" col. 2)

Posted on January 20, 2010 by
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“The Write Approach…” – col. 2

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Dear fellow writers,

I want to continue discussion from my December column on the energy in words and how that energy can be more fully assured by choice.

Two important elements we need to employ in this regard are imagination and curiosity. Even when writing ‘facts’ and non-fiction we need to use our imagination. We need to imagine ourselves into the facts to create the possibility of our understanding them or having empathy with the situation. In other words, we must be able to put ourselves in the shoes of others. Curiosity or interest can be the instigating force here. And when we succeed in doing this the words emerge with energy.

Everything has been written about before, however each writer’s voice, unique in itself (just like fingerprints), can engage anew, solely through that ‘voice’ … the tone, the style, the texture of the writing. There is no place for contrived ‘niceness’ here. Both non-fiction and fiction can bring alive all that is good and bad if written touching the core of the person and the situation. For this honesty is required, and fearlessness.

When you create a story, fiction or non-fiction, poetry or prose, create it powerfully with your use of language and images and resist literal representations. In The Apricot Colonel Marion Halligan said, “We are not talking about the Gulf War, we are talking about your writing the Gulf War.”. There’s a huge difference. So, we want word vitality: no clichés, no ‘easy’ descriptions, no banality or compromise for political correctness, no sentimentality. Every word chosen goes to shape and form the story and, if chosen well, resounds within the sensibility of the reader.

One of the riches of the English language is the myriad of words it offers as nuances, to marginally alter a meaning so that full sensibility and cognizance is achieved, as well as an exactness of sensitivity. Think of the difference between ‘witness’ and ‘see’, between ‘amusing’ and ‘funny’, or ‘damp’ and ‘wet’, ‘attached’ and ‘clinging’. Whichever word you choose to use will make a big difference to meaning and tonality.

For energy flow consider different ways of using adjectives to maximise effect. Look at this line from V.S. Prichett: “The soft owl flew over the lane.”. Kate Llewellyn discusses it in her book, Burning: a journal: “The short adjective, instead of the expected adverb, is art itself, and makes a place and mood and time of day, an entire scene out of seven words … This is what we’re looking for in the fiction line. We want that owl.”. We do, however, have to be very careful using adjectives, as over-use can quickly mar writing, and usually the rule of ‘the less adjectives the better’ is a good one to go by.

I made an exception to this in my poem, ‘Saltstruck’, and used adjectives in perhaps quite an experimental way. I married them to words with a hyphen and in some cases made them do the work of verbs. Far from slowing the text down, in this case I think it gave it a rather peculiar energy of its own. See what you think … Note, too, the verbs used. Verbs are all-important in providing word energy in both poetry and prose.

Tonight
a delicious wind blows
behind
surf’s dull thunder.

I taste salt,
prick through scales
to the flesh of the
skipjack with my
finger fork tips.

My toenails,
pink-mauve
small-scalloped,
track the sand
soft-wet-coated
to my toes.

Foam-glistened,
tail-heavy,
I sing of deep places,
chime in the wind moan.

Driftwood grey-shifts –
beneath my feet
sand tugs,
races out to sea.

I hope you don’t mind if I sometimes use my own poems as concrete examples of the discussion in this column; they come readily to me. I’ll certainly endeavour to utilise works other than mine as we progress. If you would like to refer to other examples of adjectives being used in unusual ways you could also browse through Joyce’s Ulysses.

Until next time …

Liat K-N

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On writing and the demands of words… (“The Write Approach…” col. 1)

Posted on December 14, 2009 by
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“The Write Approach…” – col. 1

This column is offered by Diasporic and is to be directed towards its member writers. It is a monthly suggestions and information column taken up by Liat Kirby-Nagar who’s had many years involvement in literature.

Liat is a Melbourne-based poet, was the founding director of Lynk Manuscript Assessment Service following its ‘liberation’ from the National Book Council in 1998. She expended an enormous amount of energy and passion on behalf of emerging Australian writers during her six-year term as director of Lynk. During that time, 17 new authors secured publication after having their work assessed by Lynk. Liat now devotes her time to writing, manuscript appraisal and teaching creative writing.

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Literary articles on the web

Posted on October 24, 2009 by
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  1. Essays – How Literary stories go wrong
  2. Workshops – I. Choosing a workshop
  3. Workshops – II. Making the experience valuable
  4. Workshops – III. How to critique a manuscript
  5. Workshops – IV. Workshops and literary agents
  6. Top Ten rules for fiction workshops
  7. The Danger of Overuse of 1st Person Narrative in Literary Fiction
  8. Researching Topics for Writing
  9. Things every writer should own
  10. How to contact a Literary Agent

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My Use of the Internet

Posted on December 14, 2007 by
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by Ron Price @ 2009-12-13 – 06:59:13

I try to respond to incoming posts at the internet sites to which I belong. I rarely get time to respond to many incoming posts. This is due to the fact that I have a busy and full agenda. I will post below an outline of my internet activity to give you some idea of the range of my activities on the world wide web. I wish you all well in your online marketing and in your personal life–if the two can be separated in your case–or in mine.-Ron Price, Tasmania.

literature

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A SUMMARY OF RON PRICE’S INTERNET PUBLISHING

“HIS CUP OF PUBLISHING TEA”

I have outlined below(in 1500 words and four A-4 font 14 pages) several categories of my writing and my writing projects of varying sizes, genres and subjects on the internet. Readers can gradually get into whatever categories of my work they desire, if at any time they do in fact desire to read my works over the next few days, weeks, months, years or decades. The following items went onto the internet in the period 2001-2009. The following outline is a presentation of what might be called my marketing strategy, my literary strategy or my internet strategy, a strategy given the limitations of my technical internet skills. One might refer to my current modus operandi, my MO as the who-dun-it enthusiasts call it, as my business plan, although such a term suggests a more professional and money-oriented approach than it really is. In some ways what I write below is an outline of this small business, how I operate, how I have built it up, its raison d’etre and where it seems to be going if, indeed, it is going anywhere at all—and I know it is, at least from my own perspective.

Most of my writing is free of any cost, although some of the self-publishing material costs anywhere from $3 to $20 at self-publishing sites like Lulu and eBook Mall. I mention this fact: (a) not to advertise and (b) not to try and sell my work. I have received 20 cents/annum in royalties since I began self-publishing in 2003. Fame and wealth will elude me as it eludes most writers. There are three general categories of printed matter, my own writing, that I have placed on the world wide web. These categories are:

1. Books:

1.1. The Emergence of a Baha’i Consciousness in World Literature: The Poetry of Roger White. This 300 page ebook is available at Baha’i Library Online and parts of it can be accessed at many places on the internet.

1.2. A paperback edition of the above book is available at Lulu.com for $11.48 plus shipping costs from the USA. This self-publishing site also has a five volume, four book, work, a study in autobiography, entitled Pioneering Over Four Epochs which is 2500 pages long(four 625 page books). Much of this is available as an ebook and in paperback for $10 to $20 per volume at Lulu.com in 2009. It has been reviewed/approved by the National Spiritual Assembly of the Baha’is of the United States for placing on the internet. The cost of these books is set by Lulu.com.

1.3 My internet site entitled Pioneering Over Four Epochs has some 450,000 words and 30,000 pages and is a book unto itself. this is an equivalent of 6 books at 75,000 words per book.

2. Internet Site Postings:

Essays, poems, parts of my autobiography/memoir and a wide variety of postings/writings in smaller, more manageable, chunks of a paragraph to a few pages are all free and can be accessed by simply: (a) going to any one of approximately 4000 sites and (b) typing some specific words into the Google search engine as indicated in the following:

2.1 Approximately 4000 Sites:

I post at a wide range of poetry, literature, social science and humanities sites across a diverse mix of subjects, topics and intellectual disciplines in both popular and academic culture. The list of over 100 pages of these sites and a developmental outline of the process/the timeframe by/in which these sites were acquired is available to anyone interested by writing to me at: ronprice9@gmail.com. But a simpler method for readers to access many of my postings would be to:

2.2 Type Sets of Words At Google:

There are literally hundreds of sets of words now that will access my writing at various sites. If you type, for example, Ron Price, followed by any one of the following words or word sequences: (i) poetry, (ii) literature, (iii) religion, (iv) Baha’i, (v) history, (vi) Shakespeare, (vii) ancient history, (viii) philosophy, (ix) Islam, (x) Australia Baha’i and (xi) pioneering over four epochs, et cetera, et cetera, you will get anywhere from a few sites to over 150 sites arranged in blocks of ten internet locations. This last site, “pioneering over four epochs”, is a particularly fertile set of words to type into the google search engine, although there are other sets of phrases that will yield a fertile list of my writings in prose and/or poetry.

The main problem with this latter way of accessing what I have written(section 2.2) is that my work is side by side with the items of other writers and posters who have the same name as mine and/or the same topic. I have counted over 2000 other Ron Prices and I’m sure there are more. You may find their work more interesting than mine! There are some wife bashers, a pornographer or two, car salesmen, evangelists, media celebrities, indeed, a fascinating array of chaps and chapesses who have different things to sell and advertise, different life-trajectories and claims-to-fame than my life and my offerings. If you type/google the words Ron Price followed by some topic/word of an academic, literary, poetic or subject of personal interest, you will: (a) eliminate some of the other Ron Price’s and (b) have access many sites with my writing.

3. Specific Sites With Much Material:

Some sites have hundreds of pages of my writing and these sites are a sort of middle ground, a different ground, between the two major categories I have outlined above. The Baha’i Academics Resource Library(BARL) (or Baha’i Library Online), for example, has more of my material than at any other site. My writings are listed there under: (a) books, (b) personal letters, (c) poetry, (d) biographies and (e) essays, among other categories/listings. The Roger White book is at BARL under “Secondary Resource Material>Books>Item #changes. I find this site useful personally, but some of the poetry is not arranged in as visually pleasing a form as is often found at many other internet sites. Readers should click on “By author” at the top of the access page, then type “Price” into the box and 46 articles/documents will appear/be accessible.

There are some sites at which my writing is found in a very pleasing form with photos and pictures and general settings to catch the eye. Some site organizers have their location beautifully arranged. I leave it to readers to read what pleases them and leave out what doesn’t. When one posts as much as I do on the internet, one often writes too much, says the wrong things or upsets an applecart or two. It’s part of the process. In cyberspace, as in the real world, you can’t win them all. The pioneering over four epochs word sequence is, as I’ve said, a useful word package to access some 150 sites with my writing and has no competition from other ‘Ron Prices.’

Concluding Comments:

I had no idea when I retired from full-time employment in 1999, from PT employment in 2001 and from much volunteer work in 2005, to write full-time that the internet would be as useful a system, a resource, a base, for my offerings as it has become. There are literally millions of my words in many a genre now on this international web of words that I have written in the last eight years(2001-2009). From the early eighties to the early years of this new millennium I tried to get published in a hard or soft cover, but without any success.

My guess is that in the years ahead the world will be awash with books and various genres of printed matter from millions of people like me posting various quantities of their writing. In some ways the world is already awash with print as it is awash with audio-visual products. The print and electronic media have got something for everyone these days, probably more than most people can assimilate.

What I write will not be the cup-of-tea of all readers. This goes without saying. If that is the case readers are simply advised to drink someone else’s tea from someone else’s cup. There is something for everyone these days in both hard and soft cover and on the Internet. If readers don’t like my work or someone else’s go to sources of printed matter they like.

For those who already do or may in the future come to enjoy my writings, I hope the above is a useful outline/overview. For those who don’t find what I write attractive to their taste, as I say, the above will give you a simple handle to avoid as you travel the net. I wish you all well in your own endeavours in the path of writing or whatever path your travel down.

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