Writers on the edge

Lots of writers out there are ‘on the edge.’ Perhaps they are not writers at all, but they are thinking about writing and they are almost or nearly writing. The purpose of a writers’ workshop as I see it is to get these writers on track or, if they have strayed, to get them back on track. This is one of the reasons why I set up The Abu Dhabi Writers’ Workshop – to support writers, but also to help them help themselves.

The Abu Dhabi Writers’ Workshop, which met for the first time in June 2015, has held over 30 sessions and run over 90 workshop hours. At the last count there were 606 members. Most of our regular writers have set their goals and are most definitely on track. However, it’s now possible to have a better overview of the issues encountered by some of our newer writers and from time to time I hope to discuss these here on the All Write In Abu Dhabi blog.

How our writers write, their writing process, comes up for discussion on a regular basis. I think there are warning signals that we need to watch out for that indicate all is not well with our writing process. Here are some of them.

You need to review your writing process if …

  • you’ve been writing for a long while and have little to show for it;
  • you lack the ideas and inspiration to keep going;
  • you’ve lost your direction;
  • you’ve lost sight of the story you wanted to write;
  • your rough draft hasn’t moved on for some time;
  • you keep adding subplots to your novel;
  • you write infrequently;
  • you read only rarely.

I’m sure I can come up with other signals, but these should be enough to get us started.

Obviously people take different approaches to their writing. The way you write may not suit me. The way I write may not suit you. The three approaches most commonly described in the how-to-write literature are as follows:

Pantser writing – called this because it is when people write ‘by the seat of their pants.’ These writers begin writing, then figure out where their story is going as they write. Sometimes this works very well. Sometimes it is a disaster with the writer ending up wandering about in the dark wood of the soul.

Freestyle writing – in which the writer writes scenes out of order and then organizes those scenes into a coherent structure.

Outline writing – here the writer puts together a detailed outline, working out who does what and when, and adding in the related subplots. When everything is in place, they go full speed ahead and write their first draft. Have a look at this video in which crime writer Jeffery Deaver explains his approach to outlining:

There are no rules. You can write the way you want to. However, successful writers usually establish the rules that work for them and stick to those rules. If your novel is getting written, and if your work is getting published, you’re doing something right. If you’re floundering in a mire of words, join us at The Abu Dhabi Writers’ Workshop and find out about the writing processes favoured by our most seasoned and successful writers.

 

 

 

 

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A Thought Or Two About Fictional Twins

Double Vision                                                                                                                 There is something about twins that makes them a subject of fascination for readers and writers.

Twins, or their equivalent, have been popping up in fiction throughout the history of literature. We have evil twins, separated-at-birth twins, sickly or mad twins, wicked sisters, rival brothers, but also changelings, soulmates, dark halves, lookalikes … and all of them threatening to unpack our emotional baggage. People just hate it when you tell them you saw their ‘twin’ in the supermarket. It undermines the human quest for uniqueness.

In her book Twins in Contemporary Literature and Culture (Palgrave Macmillan, 2005), Juliana De Nooy examines the various and most fascinating manifestations of twins:

Identical and conjoined twins offer counter-intuitive images of one being in two bodies and two beings in one body, and thus may be seen to lend themselves to explorations of the nature of the self.

Consider for a moment when you last met twins on your own reading travels.

Schizophrenia                                                                                                                   We find them in Ian McEwan’s Atonement (2001) – Jackson and Pierrot, the brothers of the disreputable Lola. We find them in John Banville’s 2005 Booker Prize-winning novel The Sea – the wordless Myles, and his sister Chloe. I remember finding them years back when I read Arundhati Roy’s The God of Small Things (1997), another Booker winner. (What were the Small Things? I can’t remember.) Roy’s Esthappen and Rahel die tragically, I believe, by drowning, while Banville’s Myles and Chloe wade out together into the sea to meet their fate:

They were far out now, the two of them, so far as to be pale dots between the pale sky and paler sea, and then one of the dots disappeared. After that it was all over very quickly.

In Richard Ford’s novel Canada (2012), which explores the themes of assimilation and belonging, Ford’s narrator Dell and his unalike sister Berner are fraternal twins. Dell reflects:

I sometimes found myself thinking of Berner as an older boy. Other times I wished she looked more like me so she’d be nicer to me, and we could be closer. Though I never wanted to look like her.

The desire for the closeness that comes from similarity threatens our human need for individuality. Canada2 Zadie Smith’s ground-breaking novel White Teeth (2000) uncannily anticipates the rise of fundamentalism in Britain. One son Magid is sent back by his father to Bangladesh to be educated and ‘challenged,’ while his twin Millat remains. But which twin is ‘safe’? Millat goes on to join the dubiously-acronymed ‘Keepers of the Eternal and Victorious Islamic Nation,’ (KEVIN):

… he stood schizophrenic, one foot in Bengal and one in Willesden. In his mind he was as much there as he was here. He did not require a passport to live in two places at once, he needed no visa to live his brother’s life and his own (he was a twin after all).

This is the schizophrenia of a split cultural identity as exhibited in the twins of Smith’s novel, but transferable to a population of confused individuals. White TeethSacrifice                                                                                                                                In her book Negotiating with the Dead (2002), Margaret Atwood has a whole chapter on ‘duplicity,’ or this ‘world of doubles’: ‘Which Twin has the Toni?’ Atwood describes a magazine advertisement for a Toni home permanent. Two identical girls are shown with two identical hair perms – one an expensive salon hairdo and the other the cheaper home version. ‘Why was it that I suspected fraud?’ asks Atwood. Is this a clue to the twin syndrome? One twin is merely a copy of the other. As Atwood observes:

In his book on human sacrifice, The Highest Altar (1989), Patrick Tierney would have it that the successful twin represents the living society, and the unsuccessful one his dark alter ego – the one who was sacrificed and then buried under the cornerstone in order to deal with the Underworld, propitiate the gods, and protect the city.

NegotiatingIn life, one of a pair of Siamese twins must often be sacrificed to save the life of the more complete other. This is the lot that falls to Marion and Shiva, the twin protagonists of Abraham Verghese’s surgery-for-beginners-novel Cutting for Stone (2009). In Gillian Flynn’s best-selling crime thriller Gone Girl (2012), Go – short for Margo – comes very close to taking a murder rap for her twin brother Nick. In literature, twins – or at least one of them – are expendable.

Who can say how many twins have fallen for the sake of fiction?

The complete article ‘Which Twin has the Toni?’ first appeared in the IATEFL Literature, Media and Cultural Studies Newsletter, Issue 46, March, 2015. More on twins in the next post.

References

Atwood, M., 2002. Negotiating with the Dead. Cambridge: Cambridge University Press.

Banville, J., 2005. The Sea. Basingstoke: Picador.

De Nooy, J., 2005. Twins in Contemporary Literature and Culture. New York: Palgrave Macmillan.

Flynn, G., 2012. Gone Girl. London: Weidenfeld and Nicolson.

Ford, R., 2012. Canada. London: Bloomsbury.

McEwan, I., 2001. Atonement. London: Jonathan Cape.

Roy, A., 1997. The God of Small Things. London: Random House.

Smith, Z., 2000. White Teeth. London: Hamish Hamilton.

Tierney, P., 1989. The Highest Altar. Viking.

Verghese, A., 2009. Cutting for Stone. New York: Vintage.