We had many craft talks, where a member of the faculty shared insights on a specific aspect of the writing life. Here are a few of the highlights from Marie-Helene Bertino’s talk. Later this same day, she read from her new novel, 2 am in the Cat’s Pajamas, newly released. She’s a rich writer and a generous human: in other words, a true inspiration.
Marie-Helene offered such a charming, hands on approach to the writing process as well as living the writer’s life. As she said, “I’m going to give you the nitty gritty practical: looking at a line the way a mechanic looks at a car.” She emphasized that studying craft is a process entirely different than focusing on the literary themes and symbols; analyzing the themes of a work doesn’t help us learn to write. One aspect of her talk I appreciated is the honesty of how long things take. The fact that she shared that it took her ten years to complete her novel depicted a realistic picture of the writing life, especially for novels. And in the process of creating and revising over this extended time period, we have to learn to manage our crippling self doubt.
Marie-Helene’s homage to her mother nicely informed the talk. What her mother offered both by example and by actual, specific support was delightful. All of the guidelines offered were extremely useful; the biggest moment of resonation came when she discussed finding your one true voice. This helps me commit to some of the material I have been avoiding. In listening to my true voice I have been both listening to and avoiding, two aspects of this portion of her talk were of particular help: 1) cultivating the ability to sit and be quiet so I can dial into what the story wants and 2) in cultivating your own true voice and ability to sit quietly, learn to address the human being as well as the writing.
Other nuggets: Listen to what the work is asking for. Be serving the work. Listen to the connective tissue of the work and trust the process.
Her set of revision questions offered me wonderful points of entry for strengthening our work: What else could I be doing? Am I being efficient and creative? What am I not thinking of? How have I seen this written? Challenge yourself to do in new ways: put yourself into the mind frame of how can I do this differently? If writing a sex scene: a little goes a long way. When writing the loud things: sex, violence, racism, make sure they are working for you rather than them working you.
I loved her discussion of point of view – it made me want to instantly read Henry James to develop my ability to identify the tone of the voice of the omniscient narrator. Again, that distance between the writer and the narrator is where I think my biggest growth in terms of craft will happen.
Another salient point: Don’t be scared to fly; figure out what you’re avoiding in your own work; dig in. The other aspect of this is to dive into what you’re bad at, write two pages of what you’re scared to write. There are quite a few on this list I could “encounter.”