Ok, time to come clean...
For years now, I have built a career upon being one of those
bad-ass writers who will not write spec work.
Writer's block is not a thing.
You pay me in advance and in a currency of my choice. You can crit my work - go on, make my day, for I am not like other
writers. You cannot make me cry. I am detached, analytical, my brain is a
series of wheels and cogs. Sharp to the touch. I will analyse your ideas,
harvest the things I can use from your critique, discard those I consider to be
merely opinion as opposed to analysis. I
can do all these things because I have no emotional attachment to my work. It is a collection of letters and phrases,
each deliberate in its deployment for the singular purpose of meeting a remit,
producing a product that behaves as it is supposed to. I am a master of my craft and you will pay
for my expertise.
And then I accidentally wrote a novel.
I say accidentally... it really was. After the collapse of a particularly
difficult film venture, the loss of 9 months of income, 12 months of endeavour
and a lifetime of pride, it just seemed like the thing to do. Nobody asked for it, nobody was expecting it,
waiting to read it. It was my secret and
it became the receptacle for a sonic wave of anger, frustration,
disappointment, but also hope, pride, political awakening and connection to a
city, and in turn, for four of its imaginary denizens, their components plucked
from people I have loved, feared, loathed and stood in awe of.
I did every single thing I teach my students not to. I wrote without a plan. I prioritised the work to the detriment of
paid employment, regular meals and personal hygiene. (There is a dark corner of
my couch that has seen some things) My
fiancé is still deeply mystified as to why I would seek that moment to expend
that much energy when so much was at stake.
I couldn't stop. I wrote without
much understanding of the world of prose.
I was an interloper, charging across vast unknown plains of words and
encountering precious little resistance.
2 thousand words per day, 3 thousand, 5... It became something that consumed me, a punch
bag inside my own head that I could unload upon. And fuck it felt good...
Once I let the secret slip, good friends whispered wise
words of caution as the word count approached 70, 80, 90 thousand. The thing started to take shape. Started to become something unexpected. It had completely broken out of what weakened
remit I had chained it with and was rampaging loose under its own momentum,
savaging the things I was supposed to be doing, ripping out the throat of
anything that threatened its reign of terror.
And then, one day it was done.
I couldn't look at it for almost a week, or much of anything
else for that matter. I left it to
skulk, pad around, perhaps in the hope that it might of its own volition find a
way out into the world that did not involve me at all. But no.
It waited... with something almost resembling obedience. It now had expectations of me that I would
have to try to meet.
It felt like taking a rabid dog to the vet. I coaxed it out from under the couch, ran my
fingers through its grammar one last time in the hope of calming it before
forcing it into the pet carrier of a 50 page sample and a synopsis that upon
reflection was infinitely less revealing of its origins and purpose than this
article. Needless to say, it howled all
the way there, scratching at its split infinitives which were becoming raw and
infected. It didn't matter. It would soon be out of my hands and into
those of the dreaded agent, whom I was hoping would be able to diagnose clean
bill of health, and perhaps proscribe a sedative for us both.
For 12 days, I sat in the digital waiting room. At first, it felt strange not to have it
around. It felt odd to watch occasional
home improvement shows of an evening.
This is, it seems behaviour utterly incompatible with the life of a
professional novelist, especially one bent on writing a whole novel in three
months. Even so, with it out of the
house, I began to humanise again, began to eat and bathe regularly, began to
work on writing jobs that pay actual money.
I had almost returned to pre-novel levels of paranoia and neurosis when
the word came in.
My novel... my poor, angry, rabid, vibrant lurcher of a
novel whilst otherwise reasonably healthy, if somewhat over written, had been
diagnosed with a terminal case of literary fiction. The saddest part was, it didn't seem any the
wiser about its diagnosis. If anything,
it seemed pleased to see me, as if its poor undeveloped novel brain couldn't
comprehend how ill it actually was. At
least it didn't appear to be in any pain.
Like all concerned owners without any real expertise in the area, I took
to the internet in an attempt to better understand the diagnosis.
For the reference of anyone else who suffers a similar
diagnosis, it is important to note the following.
1. If one types
'literary fiction' into google, its search engine helpfully adds 'is dead' as
item one in the auto-complete search bar.
2. Most of the
articles you then find date back to around 2010. My poor savage beast was as Will Self puts
it, a 'Stillborn novel', written by a misguided person intent on some sort of
zombie necromancy.
3. On the plus side,
there is a new wave of articles entitled 'Literary fiction is dead articles are
dead.' which would seem to indicate that so dead is literary fiction that even
articles bemoaning its death are now also extinct.
The news was difficult to take. For a while, I didn't want to give up. I looked up radical new treatments of zombie
literary fiction having some success in America. New experimental interventions that might
prolong the life of my novel. For most,
the research was still in its early stages and the techniques were not as yet
approved for use by the Times Literary Supplement. My heart sank. The agent himself had only suggested two
highly drastic possible treatments, both requiring intensive surgery and long
periods of medication that might change the mood of my novel, alter its
behaviour... The first was to
re-envisage it as a thriller, involving the removal of characters and an
increase in plot driven narrative. The
second was more drastic. It involved the
forced neutering and reconstitution of my novel as a 'Young Adult' book...
I carefully mulled over all of these options. Both were invasive and painful treatments,
the second requiring an unrequited sexual tension that I thought would be hard
for my novel to bare. My first reaction
was that in order to spare my novel any further pain, and though it would be
very sad it might be kinder and easier on everyone concerned to self publish it
down. But it seemed wrong to do that to
such a young book that was as yet unaware of its symptoms. Instead, I decided that it could perhaps be
retrained, to somehow make the leap from angry diatribe to something more
universal. (When you try to put
'commercial literary fiction' into google, nothing comes up.) My novel did not seem to care.
So, with the rolled up newspaper of literary theory, the
chew toy of genre identity, and a firm leash attached to its authorial voice, I
am going to attempt to make it something more obedient, whilst at the same
time, preserving something of the wild eyed savagery of its soul. This will be a challenge, to be sure, but
then if necromancy was easy, everybody would be doing it.
Or perhaps not...