Regular Becoming A Fiction Writer readers will no doubt have been wondering (after my vocal, successful January) how I’m going with my month-by-month fiction writing goals for February. Well, to cut to the chase, as they say, I’ve been going rather badly! My goal was to finish the revisions to my first novel draft, Kanako’s Foreigner, but apart from glancing at the folder on my shelf which I know contains a print-out of the most recent version and the beginnings of some amendments, I’ve done nothing.
Let me correct that. I have moved the folder off my shelf, I now remember doing this, and it is cluttering up the dining table instead. However, this is certainly not great progress, and the end of February is fast approaching. However, I have had a good think about this and, with the help of some other outside input, have made a big decision.
At first I thought the reason I hadn’t got to these revisions was simply because I’d had a busy writing January, a busy working start to February and with it being such a short month, I was just pushed for time. But then I received some very useful feedback – the general feedback to all entrants for the TAG Hungerford award, a contest for Western Australian novelists which I entered with my Bratislava novel. They sent all entrants some general impressions from the judges which included some very relevant points to my case, I’m sure, including the fact that realist narratives formed by far the majority of the manuscripts submitted, usually relating to what appeared to be real life experiences (mine doesn’t fit this category quite as strictly as my first novel might, but still perhaps a little “too much” in some sense); there was also a particularly salient comment:
In general, there was a disappointing lack of interest in exploring and extending the
possibilities of form or language, with stylistic experiment kept to a minimum and a strong
reliance on simple, unadorned prose.
This has long bothered me about my fiction writing – for the novels I’ve written in particular – and especially after my month of poem writing in January, I’ve realised I can definitely do better. This line of thought also led me to think about the novels and career trajectories of two of my favourite Australian writers, Nikki Gemmell and Andrew McGahan. As much as I have enjoyed all of their writing, in both cases their first two novels (Shiver and Cleave for Gemmell, and 1988 and Praise for McGahan) would probably have got this kind of comment from the judges (not to say they’re not great novels – but they certainly seemed to be based on their experiences, whereas their later work seems much more, I don’t know, “imagined” somehow. Better, more literary. More “proper” writing, in a way!
What I’m leading up to is this big decision: for the time being, I’m going to put aside my first two novel manuscripts, and work on the third novel idea I have, but doing it really, really “properly”. I’ve been reluctant to get going with the agent thing because I’m not convinced they’re my best work. And I figure you really, really want to try these things out with your absolute best, rather than “poison the waters” with something you’re not 100% sure about.
So, my task for the remainder of February is relatively simple, to reschedule my month-by-month goals to take this into account. At the same time I’m going to work in some downtime and breaks because switching from month to month takes a little time – for example, just in the first day or two of each month I have to use my spare time to send out invoices and finish up other work that is simply essential, so I can’t always jump straight into the next fiction writing project, and my schedule should reflect that. And then I’m going to really get going on producing the absolute best novel I’m capable of, at least at this stage of my writing life. I’ll keep you all informed, of course!