On Writing the Same, Only Different
December 7, 2018 § 12 Comments
by Kathy Stevenson
Every time I read a book I really like, whether fiction or nonfiction, I close the book with a deep satisfaction, and immediately think to myself, “I wonder if I could try doing it that way.”
That way, of course, encompasses that particular author’s own unique vision, talent for storytelling, character development, and even syntax. Somehow the writer made all those singular elements come together to form a coherent whole – and not just coherent, but artful. Effortlessly artful.
Of course, deep down, I know that very few authors would describe their process of writing as “effortlessly artful.” That might be the way a finished work looks to others, but in reality most published authors have put in the hard work. (Though, sometimes hard work isn’t enough – raw talent and luck and other mysterious forces also can come into play.)
It’s not that I actually want to copy another writer’s style or organizing principles or, God forbid, themes. It’s more of a raw admiration for how they did it, and then me looking back through a work to see if I can discover how they made all the disparate parts a lovely and gratifying whole.
For example, I would kill any number of my darlings to write a book like Mrs. Bridge by Evan S. Connell. Deceptively simple in its narrative structure, and even its “plot” and characters, Mrs. Bridge dumbfounds me every time I go back to it. I will start reading it, and think to myself, “Okay, this time I am going to figure out why this book sucks me in and keeps me reading even as nothing is really happening.” And by nothing, I mean life. Nothing blows up, there are no spies or aliens or fantasy worlds. Even sex is a vague undercurrent in Mrs. Bridge, although you sense simmering sexual tension throughout the book.
Nonfiction presents equal challenges. As someone who devours memoirs, and often writes memoir, I look at each one I read (after I have devoured it) with an eye to figuring out what magic tricks the author employed to suck me in. After reading my fiftieth or hundredth memoir, throughout a lifetime of reading, I still come to the end and think, “How did they do that?” And then, “I want to do it like that.”
Probably the memoir I have re-read most often is This Boy’s Life by Tobias Wolff. Each time I read it, I discover it anew. Much of this has to do with the language Wolff uses. “When we are green, still half-created, we believe our dreams are rights, that the world is disposed to act in our best interests, and that falling and dying are for quitters.” With each reading I remind myself to pay attention to the fine balancing act of Wolff’s storytelling and insight into his indelible (and very real) characters.
After reading Wolff, I want to do the same thing he did. To not clobber my reader over the head with profound insights, to let the narrative provide those leaps in the reader’s mind. And even though I can use the same tools as Wolff, my own stories – my way of narrating them – and my insights are going to be organically different.
Abigail Thomas is another memoir writer I greatly admire. When I read her work, again I think to myself, maybe I should try and write more like her. Ha!
Just because you admire the way someone puts words and narratives together doesn’t mean that’s the way you can or should do it. But I am still sorely tempted to try when I read Thomas’s words, “Maybe there are dozens of souls born again, and again into the same repertory company, and with each new birth they play different parts in a different play.”
For a long period of time, May Sarton’s Journal of A Solitude was a guidepost of sorts in my writing. Here, then, was the way to do it… Just write down your thoughts each day, and let those daily musings on life weave themselves into a whole cloth. A technicolor dream-coat of days that adds up to something more. The whole time I tried that little experiment, tried writing my own Journal of Whatever, I could sense some kind of writing fairy godmother floating nearby, calling my bluff. Clearly I was no May Sarton.
And yet, I find myself returning to these authors and their books and wondering what alchemy of words they were able to conjure forth. And, then I think, they did it – so why can’t I?
It’s not that I want to write the same book in the exact same way as my most admired memoirists (and I could easily name dozens). I know I have to find my own way. A different way. But just knowing that they have come before helps me gain the confidence that I can do the same. Only different.
Kathy Stevenson’s essays and short stories have appeared in an eclectic array of newspapers, magazines, and literary journals including The New York Times, Chicago Tribune, Philadelphia Inquirer, The Writer, Red Rock Review, Clapboard House, Tishman Review, The Same, South Boston Literary Gazette, and the Brevity blog. She has an MFA from Bennington College and is living for the winter near San Diego.