The flowers I pick
Die in my hand,
But flowers I can’t
Photo’s my own.
The flowers I pick
Die in my hand,
But flowers I can’t
Photo’s my own.
I’m looking at the two versions of of a poem I wrote, “Reach” (As of 10/18/2017, it’s still just sitting in a folder on my computer).
The first, what’s more natural to me at this point, separates lines into different grammatical parts. For instance, in the first stanza, I separate the three prepositional clauses into their own lines. I follow the same thing throughout the poem, actually. It’s all separated into different grammatical parts.
I have read poems that do not follow this method (some more than others), and it’s these that the second version emulates. They break sometimes in between grammatical units, like nouns and their modifiers, like prepositional clauses, etc. The effects seem to include natural forward motion, like stair steps or like the meter in Jabberwocky, and an emphasis on certain words or phrases that wouldn’t otherwise be noteworthy.
Here’s a couple for study:
This one seems to break each stanza into three lines regardless of what’s going on in the thought. At the same time, thoughts always end at the end of a stanza, even though a thought might take up more than one stanza. Each line is two to three words. So I can’t tell if she’s following the numbers or following one of the other purposes I mentioned before. Or something else I’m missing.
Garrett also sticks to a specific number of lines in each stanza, but he doesn’t seem to stick to a specific number of words in each line.
Perhaps I should read up on modern line breaks. There’s bound to be a reasoning I’m missing.
I have been making a lot of “development documents” for the novel, but I typically just draft when writing shorter pieces. I know I have a tendency to do development documents for things I’m afraid of getting wrong, and I think I also do it for the novel because I haven’t wanted to do “unnecessary work,” knowing how much time might be “wasted” if I write things that’ll just be thrown out.
In my drafting process, I read what I have over and over again, and when I do, if something strikes me as needing to be changed, I do it. Often this brings something else to mind or sight that needs to be changed, so I do that as well. And I keep reading and changing. And as I do, my vision for the piece changes. I can start with one idea or right side image or left side pattern and end up with something completely different because of how the little changes end up redirecting me. It’s a lot of work. It can takes hours upon hours for a single poem. I have started poems that didn’t rhyme and were about one thing that end up rhyming and being about something else—all because of adding individual changes and finding other things that match them or need to be thrown out and feeling what things go together or not.
And another description of the drafting process—sitting there, active quiescence, reading, mulling, until something pops up to add, remove, or change. Lots of reading, sitting, thinking, mulling.
Pre-thinking looks different. It’s all about finding things I don’t know or don’t know how things fit and then trying to figure out how they do before actually making changes in the draft. It ranges from figuring out how sin works in my world to figuring out what the theme is to figuring out how to make the parts I know are there fit with other parts to fit the theme, even if it means changes things or adding things to do so. But it all happens outside of the draft.
I think I had forgotten what it feels like to draft. I’ve been doing semi-daily poems, and I’m getting back into what it’s like to go from clustering to polishing in a day or two. It’s kind of addicting. Depending on how well a piece clicks, I get to a point where I just don’t want to put it down until it’s perfect. It hasn’t been the same with much of the book (though it did happen sometimes).
I doubt either one is the only way to do it or the best way to do it all the time. I suspect there are times when one is better than the other. But I know that I pre-think whenever I’m afraid. I do it in all kinds of contexts.
One of the worst things is writing when I’m not feeling it. It kind of just drolls on. But one of the best things is writing when I’m feeling it. I can’t stop it.
There are some benefits of the drafting process that I’m missing. For one, it means reading the piece over and over, which means knowing it very well. That’s a good thing, given how long it is and how much stuff is in it. It also means I’ll only change or add or remove things when I get the feeling things need to be changed. This means no droll writing. The book may not end up where I planned or plan, but it will end up at a place that’s polished and that I become convinced is what it should be. I think that conviction will go a long way.
I was thinking of a metaphor when I was playing with my daughter during her bath. She has those foam letters, and she was sticking them on the wall one random letter at a time trying to make a word. She didn’t know what word, she was just sticking them up there one at a time until she got an idea for one and then finishing that word off. We started with EAT, then EATFOOD, then EATFOODISKR3M (eat food ice cream—we supplemented unavailable letters with numbers), and on until it became EATIC6CR3M (eat ice cream). She knew more and more what she wanted to write as we added letters and then words. That’s just about the best metaphor for the generative process that I could ever find. You don’t know where you’re going. You just go. You add. You rearrange. You throw out. And when you get the little light, like a match on a fuse, it just goes, and it gets more and more focused until you have it. But you got to keep putting stuff up there until you do. And isn’t that light just the trial-web shift? The random letters is the trial web. It shifts as/when you focus.
What about when I come across those things that I don’t know and just feel like I have to know before I move on? It’s like if I was writing about God and came across something about him I didn’t know—something like “Does God change? Depending on the answer, what I’m creatively connecting could either be really great or heresy.” It seems like in those cases I need to know the facts first. Who is Lithoth? What are h’lae like? What happened to Gus to make him who he is? What did the fall look like? Those all seem like prolegomena upon which the generation of the story depends.
Surely that part of me that finds connections has to be convinced of the truths behind those connections before I can comfortably make the connections. Else I’ll wonder, “Can these be connected, or is this completely wrong?” And since my world is supposed to be a realistic world, it seems like a lot of things need to make sense before I can creatively connect them in a story. Lots of things need to be worked out logically before they can be acceptable within my image.
And to some degree, that’s what I do when I’m drafting. If I find that a stanza needs something to introduce it, I write another stanza before it. I do that kind of thing with the development documents sometimes.
The big difference is when I use the development documents to figure out the themes or plots or character arcs and then rearrange things so that the themes make sense—without ever make changes in the text. It helps me understand how things fit into the themes (organize), but it lacks the spontaneity and feeling of the drafting process. It feels wrong, but I don’t know why.
I wondered if perhaps my distaste for just writing where things “need to be changed” (as a result of my development documents) is a sign that I should stick to poetry or other shorter things. That novels are just too long and dull to keep my interest—too much busy work (though I should point at that this was not as much the case when I was writing the first draft—it was the case sometimes, as I suspect it always is when just putting foam letters up without feeling any light is). But perhaps it’s more of a sign that I should be drafting more. There’s definitely no life in taking those logically developed changes into the text. Not in and of itself.
I’m glad this came up. It may mean I’ve done a lot of not so great or productive work—at least as far as the novel is concerned—but it means that I’m learning. Or perhaps relearning.
Also, even if I didn’t learn anything when writing, say 10 chapters that I end up deleting, it’s still worthwhile. It’s not wasted time. It’s a necessary part of the best process for writing. So when I’m afraid of not being productive, I need to remember that it’s less productive to only develop logically than it is to develop with both sides and delete three quarters of what I write. That’s the only way to grow and flourish and focus what the writing is to become—to cut and polish the gem.
Another thought. If I compare my poems to my novel, if I am drafting, I should be writing scenes, or units, all out of wack. Moving them around. Writing out of order. Writing up ahead or behind. Removing scenes by the armload. Interchangeably writing scene-focused and multi-scene-focused.
One thing comes to mind. Me developing apart from drafting reminds me of how I wrote that first short story about the magician and how my reader said it was super predictable. I had concluded that I was writing mostly left-brained and that the development outside of the writing was one way I was doing that. I wasn’t exploring or playing. I was trying to make things fit without exploring or playing. I was afraid to play. I think it takes both—both exploring and trying to make things fit. But it’s trying to make things fit as I explore, and I think the exploring comes first.
I fear that I am in the same boat now. And I think fear is probably the culprit. I’m afraid of it not fitting or making sense. I’m afraid of the theme not being robust or complex or impressive or beautiful or emotional or rich… And in fear, I’m trying to force it to fit instead of playing with it. It takes both.
Another thing. I remembered (and developed) all this as a result of regularly writing poetry. It reminded me what the process is like when it clicks. I should keep doing this short, experimental practice stuff. It well help sharpen me and keep me sharp.
Could the other come first at times? When would it be good for the making things fit to come first? Perhaps when there’s a problem that needs to be fixed. And maybe that’s it. Those problems come up as your exploring-fitting. It seems like you’d be vacillating between exploring-fitting and fitting-exploring. I think I remember Rico even saying something about that. But unless it begins with a problem that needs to be fixed—and this novel did not—then it begins with exploring-fitting.