Fragmented Mind
Saturday, 4 February 2012
Solar Panels - Seen The Light
Saturday, 2 May 2009
Editing
It is surely inefficient to write a great deal which later needs to be excised. Although this seems obvious I'm not sure it is. The excess may well mean that the author has fully realised character and scene for himself, which is desirable. If some of that work is later withheld from the reader it may still have a beneficial effect on what remains.
Another issue troubles me a lot. I have heard it said that we live in a digital age, which I took to mean an age where things happen rapidly and attention spans are short. The speaker implied that we remember this in our writing - that we don't hang around, that we keep things moving. But if we write and edit with this in mind we might end up cutting too much flesh from the bone.
Who wants to curl up with a skeleton?
A spare, lean style can be very effective, but is that the only style open to us now? Can't we be expansive any more? And are digressions out of the question? I hope not. Yet I notice that some queries are doomed from the start on word count alone. So I would guess that if an author wants to be expansive these days, he/she will only have a chance of doing it when established.
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Musical Notes
Normally, we edit to improve a text, but sometimes the desire to edit can be problematic. It can happen that an author or composer edits compulsively and doesn't know when to stop. Henri Duparc was a case in point, being unable to leave a good song alone. On other occasions the problem is one of quality control. Cases of this include Brahms, Paul Dukas and Jean Sibelius.
Early on in his career Sibelius doubted the quality of his work, withdrawing Kullervo soon after its first performance. He had well known problems with the violin concerto and the fifth symphony and felt that, even after heavy revision, the fifth symphony was not entirely successful. He also had doubts about Tapiola.The worst case was the eight symphony, on which he expended a great deal of work before burning what there was of it - evidently a great deal. There is no way of knowing if his instinct was right about the eighth syphony, but I believe he was correct about the other works.
But maybe he took it all too seriously. He could have adopted a more relaxed attitude, done his best with a given work and left it to listeners to decide. Many imperfect works are enjoyable. Why deprive us of pleasure because you take yourself too seriously? Renoir didn't. He kept painting after arthritis weakened his technique. The art market hated that, but why would he care? Painting was what he did.
Friday, 3 April 2009
The Pratchett Problem
It is known that Murdoch suffered from memory loss but there is no evidence that Christie was ever diagnosed. However, Christie may have provided a clue in the title of her last novel, 'Elephants Can Remember'.
If the research is on the money it suggests to me that the common nostrum, use it or lose it, may be wide of the mark.
Sunday, 15 March 2009
Self Indulgence in Writing
But I believe the problem can occur at the other end of the spectrum too, where the author is so well established that the editor doesn't try to edit out, or does try and gets knocked back.
A book I have in mind is 'Until I Find You' by John Irving, and I should say at the outset that this problem has nothing to do with hard work. The author is far from lazy. My edition of the text is 820 pages long and Irving wrote it twice. The first version was in the first person, but his wife persuaded him that it should have been written in the third and he rewrote it (mostly successfully, though tiny outcrops of first are still detectable).
Why is the book so long? The first section (125 pages) tells the story as the child Jack understands it. Unfortunately, he is being lied to by his mother and ends up many years later retracing his steps in an attempt to figure out what had actually happened. So the same sequence of events is narrated twice, once at the beginning of the book and again at the end. Telling the same story from different viewpoints isn't uncommon - Robert Browning went over the top with this technique in The Ring and the Book, and who reads that now? - but it is surely difficult to bring off.
This is not the only reason why the book is so long, but it is the single most important. Some time ago I attempted a detailed analysis of this title on Goodreads, but it was rejected because it was too long. I pared down the review and it was rejected again for the same reason. What I ended up posting was a shadow of what I had written. The one and only round to Irving!
Monday, 9 March 2009
Publishing in the UK
But certain other individuals are offered deals too and on the same basis, that their name being already in the public domain copies will walk off the shelves without too much help from the marketing department. I don’t know when this started, but the first case I can remember was the yachtswoman, Claire Francis (Night Sky, 1983). Though this novel left a lot to be desired, so do many others, and she had written three autobiographical books before she started it. She was/is an intelligent person who takes her work seriously.
How things change. With giant stride I move on to the present day. Take Jordan. Okay, don’t. But for those of you who haven’t come across her, she is a model tending to the pneumatic and, more recently, a ‘star’ of reality television.
‘Jordan, the glamour model and reality TV star, has secured her debut as a novelist with a six-figure advance before she has written a word. Random House, Britain's largest publisher, announced yesterday that it has signed up the model, whose real name is Katie Price, to write an autobiography and two novels. Better known for her appearance on the show I'm a Celebrity, Get Me Out Of Here and subsequent romance with her co-star, the former pop star Peter Andre, Jordan is adding fiction to her CV at the suggestion of the publisher.’
Notice, folks, it was the publisher’s idea. Two novels have now appeared, Crystal and Angel. Her name is on the cover but I have no idea who actually wrote them. Not a Clare Francis, then.
Which takes us nicely on to autobiography. Staying with Jordan, her first sally into the field, ‘Being Jordan’, sold close to 500,000 copies and earned £4.7 million when it was published by Blake last year. The second, ‘Jordan: A Whole New World’, covers her wedding to Peter Andre (don’t ask, I have no idea either) and the birth of their baby. I don’t know how well it’s selling. Other comparable celebrities have published autobiographies, including Jade Goody (Jade; My Autobiography) and Jodie Marsh (wittily entitled 'Keeping it Real') All of this is fed by the tabloid press, both newspapers and magazines. I recently came across a magazine entitled Celebrity Bodies. I thought it was a joke – but it wasn’t.
Leaving these people aside ( and what a good feeling that is), we have that other group who never tire of producing autobiographies – sportsmen and women. Footballers come high on the list, though when England won the World Cup (Rugby Union) several members of the team hit the supermarket shelves. Another example from a different sport is Kevin Pietersen (Crossing The Boundary). Kevin plays cricket for England and felt impelled to zap us all with his story. I will major on a footballer, though, one Wayne Rooney. Wayne kicks a mean ball, I’m told. Having listened to him talking he should leave communication to his feet.
‘Manchester United and England striker Wayne Rooney has signed the biggest sports book deal in publishing history. The 20-year-old has agreed a 12-year contract with Harper Collins to write a minimum of five books for an advance of £5m plus royalties. Rooney's first book will hit the shelves at the end of July 2006 and will be an autobiography of his life so far, including this summer's World Cup.
The follow-up books will cover the rest of Rooney's playing career and there will also be a Wayne Rooney Annual published in the autumn of 2006, aimed at younger fans.’
I could go on, but I’m sure you get the idea.
The rest of this post concerns academic publishing and may safely be skipped.
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Publishing is sometimes required of academics to get on in their profession. Academics are supposed to conduct ‘research’, even when their subject is, say, English literature. In a subject such as this research isn’t possible. Two other activities are: scholarship and criticism. Both of these can be useful. A scholar might discover the commonly accepted text of a given author contains several errors, some of them serious. If these are corrected, that’s fine. A few critical books shed useful light on their subjects. Many do not. The first time I entered a bookshop near a university I noticed that the shelf-space devoted to poetry, plays and novels was dwarfed by the space given over to learnĂ©d texts. One was written by my professor and included the sentence: ‘It is tempting to speculate on the unique felicity of tripartite division in complex works of art.’ Eloquent or what! The parasites were overwhelming their hosts.
In the sciences, things are more complicated. Genuine research is usually possible here, but not all research is useful. For example, recent research shows that shy men are more prone to heart attacks than less shy men. Fine, but why should that be? If it’s because they have less outlet for pent-up emotion than their more out-going counterparts then it’s hardly to be wondered at. Or suppose a shy man visits his doctor. What is the doctor supposed to say, ‘For God’s sake pull yourself together, Cedric, sake stop being so shy!’
In the UK a university’s funding is contingent, to an extent, on the research it carries out, so scientists can earn good money for their institutions. Nowadays, too, there are often spin-off companies which, if successful, are another valuable asset. But in both fields, the arts and the sciences, the fact that lecturers have published papers in academic journals or turned their theses into books does not mean they are capable of teaching. But I forget myself, what do universities have to do with teaching? With every passing year, less and less.
Tuesday, 3 March 2009
Books we don't finish
1
2 Harry Potter and the Goblet of Fire, JK Rowling 32%
3 Ulysses, James Joyce 28%
4 Captain Corelli's Mandolin, Louis De Bernieres 27%
5 Cloud Atlas, David Mitchell 24%
6 The Satanic Verses, Salman Rushdie 21%
7 The Alchemist, Paulo Coelho 19%
8 War and Peace, Leo Tolstoy 18%
9 The God of Small Things, Arundhati
10 Crime and Punishment, Dostoyevsky 15%
Too tired 48%
Watch TV instead 46%
Play computer games 26%
Work late 21%
Thursday, 19 February 2009
Confucius
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