{"id":6475,"date":"2021-04-09T15:00:00","date_gmt":"2021-04-09T14:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/articles\/the-fourth-line-and-then-the-fifth-line\/"},"modified":"2021-04-09T15:00:00","modified_gmt":"2021-04-09T14:00:00","slug":"the-fourth-line-and-then-the-fifth-line","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/the-fourth-line-and-then-the-fifth-line\/","title":{"rendered":"The fourth line, and then the fifth line …"},"content":{"rendered":"

As you know, I\u2019m on a George Saunders kick at the moment, and this email closes a trilogy inspired by his Swim In A Pond In The Rain<\/em>. More about all that in a second \u2013 but first up, just a word to say that there’s some important housekeeping material in the first comment below this post. All important stuff – and you’re quite likely to be affected, so do take a look.<\/p>\n

Righty-ho. Editing. Writing and editing:-<\/p>\n

I want to start with something Saunders says at the very beginning of his work. He says this:<\/p>\n

Years ago, on the phone with Bill Buford, then fiction editor of\u00a0<\/em>The New Yorker, enduring some painful edits, feeling a little insecure, I went fishing for a compliment: \u2018But what do you like about the story?\u2019 I whined. There was a long pause. And Bill said this: \u2018Well, I read a line. And I like it \u2026 enough to read the next.\u2019<\/em><\/p>\n

\u2026 I\u2019ve taken a lot of comfort in this idea over the years. I don\u2019t need a big theory of fiction to write it. I don\u2019t have to worry about anything but: Would a reasonable person, reading line four, get enough of a jolt to go on to line five?<\/em><\/p>\n

In a way, that\u2019s the whole deal, right? If someone enjoys our writing enough to read it through at a happy canter, we\u2019ve won. Some readers will find more in a book than others. Some people will rank us higher or lower than some other comparable authors. But don\u2019t be fussy. If someone reads our work, line by line, to the end, we\u2019ve done what we came to do.<\/p>\n

In the past week or two, I\u2019ve run a self-editing webinar where I live-edited about 1000 words of text, over the space of about an hour. We also spent time, you and I, with that white chairs \/ green terraces exercise, where we all spent a lot of time trying to find a way to say something simple in about ten words (without, I think, yet finding a completely satisfactory answer.)<\/p>\n

Many of you will have felt a little frustrated by the amount of time I\u2019m willing to spend on apparently minor things. (Does whitely<\/em> work as an adjective? Can Dan talk about his sister standing<\/em> outside his door, when he doesn\u2019t actually know if she\u2019s standing or not?)<\/p>\n

And, just to be clear, I really am willing to spend time on minor things. When I fuss over minutiae on a webinar, I\u2019m not putting on a show simply because I have an hour-long gig to deliver. I\u2019m doing in public what I do all the time in private. The truth, indeed, is worse than you fear. In an hour-long webinar, I\u2019m conscious of the need to entertain and keep moving. At home, with no one watching, I\u2019ll just redo the same damn sentence as long as it takes to make me happy.<\/p>\n

So yes: I am picky. And yes: I too subscribe to the Buford Theory of Fiction (BTF): If sentence N is good enough, they\u2019ll read sentence N + 1, and \u2026<\/em><\/p>\n

According to that theory, micro-blockages in a piece of text can accumulate to lethal effect. If you write a sentence that forces the reader to pause and re-construe the sentence in her head, you\u2019ve created a momentary interruption in the flow. A few such interruptions in the course of a book are perhaps inevitable. But two or three such blockages on a single page? That book is one that the BTF tells you will never be read.<\/p>\n

So editing is good for that reason.<\/p>\n

But Saunders says \u2013 let\u2019s call this the Saunders Theory of Fiction, the STF \u2013 that editing is also the process that creates highly organised fiction (or, if you prefer, simply good fiction.) Here is Saunders again:<\/p>\n

We can reduce all writing to this: we read a line, have a reaction to it, trust (accept) that reaction, and do something in response, instantaneously, by intuition.<\/em><\/p>\n

That\u2019s it.<\/em><\/p>\n

Over and over.<\/em><\/p>\n

It\u2019s kind of crazy but, in my experience, that\u2019s the whole game: (1) becoming convinced that there is a voice inside you that really, really knows what it likes, and (2) getting better at hearing that voice and acting on its behalf.<\/em><\/p>\n

(I always like Gore Vidal\u2019s way of saying something similar: \u2018Style is knowing who you are, what you want to say, and not giving a damn.\u2019 That\u2019s simple, reliable advice. Just apply it \u2013 and boom! Twenty years later, you\u2019ll be a good writer.)<\/p>\n

But Saunders presses home a wider point, which is that the repetitious action of read \/ react \/ change \/ re-read ends up building into something that is you, but is also bigger than you. More humane. Funnier. More observant. More insightful. More nuanced. More coherent.<\/p>\n

On the one hand, you\u2019re not that funny, that observant, that nuanced \u2013 but you can be a bit of all those things, sometimes<\/em>. So you capture the funny when the funny is there. Four paragraphs later, a phrase floats onto the page that has more deftness, more nuance than the thing you replaced. Your page still isn\u2019t that funny, or that nuanced, but what the hell? You\u2019re only on round #4 of the editing. You\u2019ve got lots more opportunities to find the humane \/ observant \/ funny \/ tender, etc. Each time you adjust the manuscript, the book will have more of you breathing in it, but a better, perfected sort of you.<\/p>\n

What\u2019s more, as the book takes shape, your story starts pushing things at you. The decisions you make about sentence 8 on page 197 are informed by the 196 pages you\u2019ve already read and the 112 pages that follow (and whose content you already know.)<\/p>\n

An example: my current work in progress is based in a secure psychiatric hospital on the west coast of Wales. The hospital has something of the air of a \u2018fortress built by Nature for herself\u2019, but my description of the hospital never quite found a way to make the surrounding ocean feel present and alive. There\u2019s a scene where my character first arrives at the hospital, and I\u2019d already reviewed and rewritten that scene a dozen or more times without finding a way to get the sea in there (or, indeed, realizing that I needed to.) But by the time I\u2019d finished the book and had the whole of it, so to speak, in my hand, I felt precisely what the deficiency was and started \u2013 Saunders-like \u2013 to scramble towards a solution.<\/p>\n

As that process continues, the themes and metaphors of the book will start to take shape and cohere, by themselves. I won\u2019t be thinking, \u201cGee, need to make more of the sea-as-metaphor.\u201d I\u2019ll just react to sentences and scenes, and go on making my fiddlesome little corrections, until I start to get happy. And, based on past experience, I predict that when I get happy enough to say \u2018Finished\u2019, the book will have taken on enough complexity and coherence to be something of value in the world.<\/p>\n

That\u2019s all from me, but do remember to take a look immediately below in the comments, because there lurk truffles.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

As you know, I\u2019m on a George Saunders kick at the moment, and this email closes a trilogy inspired by his Swim In A Pond In The Rain. More about all that in a second \u2013 but first up, just a word to say that there’s some important housekeeping material in the first comment below<\/p>\n","protected":false},"author":32,"featured_media":6477,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-6475","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-harrys-friday-email"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/the-fourth-line-and-then-the-fifth-line\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The fourth line, and then the fifth line ... – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"As you know, I\u2019m on a George Saunders kick at the moment, and this email closes a trilogy inspired by his Swim In A Pond In The Rain. 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