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David J. Marsh

~ Biblical Narrative ~ Literary Fiction

Category Archives: Creative Process/Craft

I Can Do This

27 Wednesday Mar 2019

Posted by davidjmarsh in Creative Process/Craft, Starting a Novel, Writing Life

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I remember the moment. I am standing in my study at my bookshelf. It is 1988 or 1989. I am in college, a sophomore. I have just pulled down a Hemingway novel – I don’t remember which one – and am leafing through it, reading a line here, a line there. And then I pause, look up and think to my naive experience-lacking self, “I can do this. I can write a novel. It can’t be that hard.”

Blink. 

Thirty years later I have a graduate degree in writing and my debut novel is about to be released.

I look back and I was right, I can write a novel.

I look back and I was wrong, it can and is hard.

But, this is how it always starts, with an unfounded idea. Whether it’s writing a novel, starting a business, or running a marathon, it always starts with simply pointing your nose in a specific direction. And it always starts with untethered, joyful ignorance of the difficulty ahead.

Along the way you will need to say again, a thousand times, that you can (still) do this. There may not be another living soul who has bought into your shenanigans. That’s fine. What you’re doing is personal. It’s yours alone.  And it will remain that way for a long time to come.

Until. 

Blink. 

Some years later when it’s no longer personal, it’s being turned out, into the wild, to fend for itself.

Waiting Work

13 Wednesday Feb 2019

Posted by davidjmarsh in Creative Process/Craft, Role of the Writer

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A key skill in publishing your debut novel is the ability to wait well. There’s a lot of it. Waiting seems to be most of what is asked of you.

But what I’ve discovered is that waiting is not the same as doing nothing. In fact, waiting well is about not wasting time – perhaps the most valuable time you’ll have.

Since mid-October I have been waiting for the publisher of my debut novel (tentatively titled) The Confessions of Adam (Bold Vision Books, 2019), to complete manuscript edits and initial cover art. During this time I have not been lying on the couch eating cookies and binge-watching The West Wing. Instead, my focus has been on waiting work. I have (in order of importance):

  1. Read The Confessions of Adam, hardcopy, with pencil in hand, 3 times – once aloud.
  2. Completed and submitted for workshop the 6th draft of my next novel.
  3. Alerted my writerly and readerly network to the anticipated release.
  4. Scheduled and sat for my author photo.
  5. Altered my 2019 planned schedule in anticipation of release activities.
  6. Began building my book release email list and started investigating mass email platforms.
  7. Started to arrange book release readings at two venues.
  8. Investigated how to add a book release splash page to my website.
  9. Given notice to several book clubs of the upcoming, albeit yet undated, release.

For the casual observer, waiting work is hard to differentiate from routine work. The difference is that waiting work anticipates what might be needed while routine work follows a defined plan. Both are essential. Waiting work is no less critical to your progress. In fact, it can make the difference between routine work that is on-time and that which is rushed to completion or delivered late.

So, wait well and get to work.

What Were the Questions I Was Asking?

16 Wednesday Jan 2019

Posted by davidjmarsh in Contract with the Reader, Creative Process/Craft, Debut Novel, Role of the Writer

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Earlier this month I asked myself why I wrote my debut novel, The Confessions of Adam (Bold Vision Books, 2019). I realized that I’d thought quite a bit about the ‘themes’ of the novel – the guiding concerns of the work – but I’d never written them down.
So I did. Here’s the list.
Central concerns/questions that drove me to write The Confessions of Adam:
What actually happened in Eden and after? I was drawn into the Hebrew narrative. I was a reader first.
How does personal memory work? Is even the most trustworthy of memories trustworthy?
How might Adam have defended himself – long after the events of Eden?
Why is this narrative so unexplored fictionally in this form?
So what are some answers that I came to while writing?
Here you go:
Reading the narrative of Genesis 2-4 was the greatest driver to writing it. If I hadn’t found it compelling as a reader I could never have written the story. There is also a creative event that happens quite early in the writing of something like this. You come to believe what you’re writing. Of course you know it’s fiction, but you come to believe that whatever happened, the telling you’ve settled on is closest to the unknowable facts.
Our memories (what and how we recall events) is a complex calculus. Our memories are shaped by our biases and reshaped each time we revisit them. Like putty, we pull at certain aspects of our memories and repress others. All memories are flawed and not to be trusted blindly. All memories need interrogation.
We know there is the defense, the reaction, that pops up in the moments immediately following a failure. There is also the entirely separate series of defenses that are riddled out in the weeks, months, and years following the event(s) in question. These short and long-term defenses are arrived at very differently. I wanted to look at these side-by-side with Adam.
The primary reason is because it is so familiar and hard to get at. A passable construct has to be put in place in order to peel back all the familiarity and gaze afresh on these events. And putting together such a construct isn’t easy.
What questions will my readers have after they finish the novel?
Those are the more interesting questions.

What Happened to December?

02 Wednesday Jan 2019

Posted by davidjmarsh in Creative Process/Craft, Debut Novel

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I read The Confessions of Adam out loud.

On November 28th I went to DePauw University in Greencastle, Indiana, with my friends Jim and Rita to hear a reading by the current US Poet Laureate, Tracy K. Smith. The reading was excellent. While there I reconnected with my former professor and friend Greg Schwipps. We were catching up regarding the planned publication of my debut novel, The Confessions of Adam (Bold Vision Books, 2019).

Not far into the conversation Greg became very serious, as he does in his wonderful way, and shared with me a lesson learned from the publication of his terrific Indiana-based novel What This River Keeps. Greg told me that now is the time to ensure that this novel is as good as I can possibly make it. I told him that I’d read it twice, in hardcopy, pencil in hand and had identified several edits. He shook his head yes, as if to say ‘of course you have.’ He then looked me square in the eye and said there was one thing I had to do – read the manuscript out loud.

Suddenly I remembered this tool. Reading out loud. I’ve used it for short fiction for years. I swear by its effectiveness. Yet somehow, when it most mattered, I’d forgotten all about it.

So what happened to December? I read The Confessions of Adam out loud, 8-10 pages each day to my wife – she on one side of my writing table and I on the other. She heard things, I heard things, and upon these things I made yet more marks with my pencil.

Indeed, I forgot you for a month, dear blog reader, but I’m sure you’ll forgive me. For the novel you will read later this year (my sincere thanks in advance) will be better for my absence.

And thank you, Greg, for this most timely reminder!

Keep Trusting the Process

28 Wednesday Nov 2018

Posted by davidjmarsh in Creative Process/Craft, Debut Novel, Role of the Writer, Writing Discipline, Writing Life

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A few weeks ago I printed the first 30 pages of my forth-coming novel, (tentatively titled) The Confessions of Adam, grabbed a pencil, and began reading and marking the manuscript. It has been two years since I’ve read it and I know that in January I will be getting an edited copy from my press. Adam and I need to reacquaint ourselves.

Well, I am now 180 pages in and my writerly, drafting instincts are in full gear. I’m ready to do what I’ve always done with this manuscript – write another draft!

Then I remember – er, my wife reminds me – 

This time it’s different. Joelle Delbourgo, and my publisher, Karen Porter, have both said that this manuscript is wonderful. So have my early readers. I must now trust a new editing process. And at this stage, the process has moved beyond my desk to the editing process of my editor. Sure, I can go through it, read it, and mark it up, but a rewrite before January would be foolish. What is happening is all part of the process. It’s just part of the process that I’ve not seen before. Our experience is rarely the first measure of reality. This is a process that’s produced millions of novels – the author/editor relationship. My team has grown. The process is now collaborative.

Let the process continue.

The Writers’ Workshop*

22 Wednesday Aug 2018

Posted by davidjmarsh in Creative Process/Craft, Role of the Writer, Writing Discipline, Writing Life

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Disclaimer: Like earning a writing degree, or attending a writers’ conference, joining or starting a writers’ workshop can be a terrific way to procrastinate and avoid the hard, solitary work of writing. However, assuming you’ve nailed this prerequisite and your writing discipline is in place, the writers’ workshop can be an irreplaceable addition to your writerly life.
In February 2017 I founded the Westside Writers’ Workshop. This workshop was started because a fellow writer, Andrea, wanted it. I was open to the idea because I was post-MFA and without a place to take my writing. Any workshop is an experiment, an unknown, a lark. It can disintegrate in any number of ways.
This one didn’t. The reasons for that are for another post. Let’s stay focused on you.
Here is what a writers’ workshop can do for you:
Distinguish the difference between solitary and alone. If you look up these two words you’ll find no profound difference. So I’ll create one. Writing is solitary work; however, it is not work that we should do alone – in confinement, without interaction with others. Humans are designed to do nothing alone. We are designed for relationship, for communal purpose. A writers’ workshop ensures we’re not alone in our solitude.
Offer reading writers. You need a group of readers to take your work to as you’re creating it. You need the reader’s feedback in order to finish a story. You also need writers to take your work to. You need people who are neck deep in the process as well, preferably who have gone further into the wild than you have, and who can act as honest judges and caring guides.
Provide essential deadlines. A writers’ workshop provides deadlines/submission periods/expectations. It is easy to drift in our solitude. We can work endlessly, never finishing anything, never achieving a pre-arranged milestone with our work. The workshop brings structure. It creates room for finishing work. Every creator needs a designed and tended place in which to work.
So be a writer. But don’t be a loner. Help other writers as you go. And they will help you.

*Note it’s not a Writers’ Group. It is not a place for loitering. Work must get done. Production is the goal. It is a workshop.

Lost Cause? Not Likely.

27 Wednesday Jun 2018

Posted by davidjmarsh in Creative Process/Craft

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Every writing project I’ve ever worked on, at many points in its creation, has felt like a lost cause. Even those that finished strong felt to me like a fool’s errand. An attempt at elegant worthlessness. Origami with toilet paper.
My current project is no exception.
And each bit of structure you build in, each character complexity, each twist of form, only bolsters that sense of doubt. That feeling that you’re on the wrong side of the mountain, lost in the woods. And dusk is setting in.
But…
If you work though these moments, days, weeks, if you keep trudging forward you pop out into a clearing. You find bursts of confidence that what you’re doing is indeed worthy of the time you’re investing. That it does indeed have purpose. Importance even.
When the writing is going well know that it will soon go poorly. And when the writing is going poorly, know that soon it will feel alive again.
This is no illness you’re experiencing. You are not broken.
You are producing creative work.
Carry on.

Fishing | Writing

30 Wednesday May 2018

Posted by davidjmarsh in Creative Process/Craft, Role of the Writer

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Yesterday I took my family on a four-hour fishing charter off the coast of Wrightsville Beach, North Carolina. It was a near-shore trip. We were at most a mile and a half off the coast trolling for Spanish Mackerel in 20-50 feet of water. As it turns out, there was time to think.

Fishing: The trip out from the marina and the first hour were uneventful.

Writing: Getting started each day is mundane, routine. It is not exciting. It takes time to get to the place where you can focused on the work.

Fishing: The second hour was uneventful too, but for the churn of the sea and sky and a sheet of rain.

Writing: We sputter, lift, and roll in search of some line that might lead to a paragraph, and perhaps promise the flash and glimmer of story.

Fishing: The third hour saw one of my daughters catch a Spanish that was too small to keep.

Writing: The ratio of words that we write vs. the words that we keep is not in our favor. Those sentences that at first suggest such promise are often the first to come under the Delete key.

Fishing: The fourth hour my son caught a ten-inch Lizardfish.

Writing: Ugly writing will appear under the tips of our pens. The key is to recognize how ugly it is, avoid compromise, and move on.

Fishing: On the way back to the marina we saw some dolphins playing in the causeway and for a few minutes our fishing charter became a nature tour.

Writing: Lean into the unexpected. When something pops up that is not on your target, pause.

Fishing: I didn’t lay my hand on a rod all afternoon.

Writing: Ending the day without a viable sentence is still a day spent searching for one.

Fishing: I tipped the captain and stepped back onto the dock.

Writing: The time spent with your butt in the chair is the cost you pay. The results will sometimes come and often not. The protocol is the only constant.

Quote and Comment, Butler

17 Tuesday Apr 2018

Posted by davidjmarsh in Creative Process/Craft, Quote and Comment, Writing Discipline

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In her essay “Furor Scribendi” Octavia Butler wrote: “First forget inspiration. Habit is more dependable. Habit will sustain you whether you’re inspired or not. Habit will help you finish and polish your stories. Inspiration won’t. Habit is persistence in practice.”

This is the truth of writing, the unglamorous, dull truth.
When I got out of bed to write at 5AM this morning it was not inspiration that lifted me from my slumber. It was brute force, the decision again today to push myself down the path of habit. It is in this – taking action, establishing routine – that we get work done. I don’t believe in The Muse. Work is not mysterious. It is cause and effect. Here we have the craft of writing, not the art. Oh, and one more thing. Inspiration comes during perspiration. Inspiration is not the fuel that starts the effort, it is a residue that comes, sometimes, in a flash of delight. It is a gift.
Now, get to work.

Two Projects At Once?

24 Wednesday Jan 2018

Posted by davidjmarsh in Creative Process/Craft

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It’s common. And it is a great idea. It certainly is for entrepreneurs. Multiple streams of revenue. You get a bunch of ideas going and see which take off. Creatively, moving in many or more directions at once is a great way to quickly identify which project is going to bring the results you envision. And if you’re lucky enough to have a couple go the distance? All the better!
Some writers work on two (or more) projects at once – two novels, two poems, two screenplays, two short stories – one of each. They talk about how they have a couple of projects going and bounce back and forth between the two. They talk about both projects with the same enthusiasm and energy. I am convinced they know what they are doing.
I am not one of those writers.
Their way is not my way.
I am one of the single-threaded ones. One of the slow and lumbering ones. I cannot maintain two boiling pots at once. I find the switch to be too great. I find the switch to be a burden. Once I’m in a voice I want to stay there, dig in, and find intimacy with the tenor and tone of what I’m trying to perceive. I like to dive deep, and stay down until my tank is nearly empty. Then I like to return to the same reef, move slower, and look closer.
This means I finish fewer projects. I discover the ideas that aren’t going to work serially instead of in parallel. I have to prioritize what I work on, and plan a bit more. And my mood swings with the work at hand.
So it goes. We don’t pick which projects will succeed. And we don’t pick our creative DNA.

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