…as a “pep talk” for fellow WriMos.
But I think it applies to any writer undertaking any writing project, and it’s the best answer I’ve seen to the questions “How do I know whether I’m a writer?” and “How do I know whether I’m a good writer?” So I’m re-posting it here:
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One of the questions that is probably troubling you at the moment is this: How do I know whether I’m a writer? And the question can only be answered with another question: Well, do you write? If you don’t, you’re not. If you do, you are. There’s nothing else to it. If, in a month’s time, you have produced a novel, or a chunk of a novel, and you have never written before, then you will have changed your status, simply and crucially. Ah, but are you a good writer? Because that’s probably the question that best articulates the nagging doubt that has held you up hitherto. And I’m afraid you will never know the answer to that one. No writer does. (Some writers think they do, but they are usually wrong.)
By contrast, it is easy to tell whether you are a good high jumper. If you knock the bar down every time, then I regret to tell you that you are not. You cannot be an underrated high jumper, or an unlucky high jumper, or an overpraised high jumper, or a high jumper whose reputation relies entirely on his or her connections to the wealthy and influential. Your high-jumping work cannot be trashy or elitist or obscure or sentimental. If you work in the arts, however, life can get pretty confusing. There is no bar to knock down, and as a consequence, there is no sturdy judgment to be made. Shakespeare—he was good, right? Like, officially? Tolstoy didn’t think so, and neither did George Bernard Shaw.
It’s no good looking to writers for definitions of what constitutes proper writing, because you will drive yourself crazy, and you won’t find anything that you can build into a coherent whole. “Writing a book, full time, takes between two and ten years,” Annie Dillard said in her book “The Writing Life.” Tell that to PG Wodehouse, who wrote ninety-eight books and forty-five plays in a seventy-five year career. You could argue, I suppose, if you were singularly obtuse, that Wodehouse was a humourist, and therefore didn’t write real books. Yet there are many people, and I am one of them, who think that Wodehouse was one of the greatest English prose stylists of the last one hundred years. Wodehouse wrote, wrote fast, made money, produced prose and characters that have endured. He looks like a real writer to me. OK, here’s some advice: If you find yourself producing a book every few weeks, don’t panic. It could mean you’re a comic genius.
It’s a mess, the arts. Critics don’t agree with each other, readers don’t agree with critics. And real writers—if I may become definitive for a moment—change their minds about their own worth and talent somewhere between two and seven hundred times a day.
I’m trying to tell you that your own opinion of your work is entirely irrelevant, and so is the opinion of others. You have a job to do, and that job is to write a novel. You have a bar to jump over, in fact. And to jump over that bar, you will need a pen (or pencil), or a typewriter, and paper. Or a computer. Or some kind of recording device, and someone with a keyboard who loves you very much. You will need to stop checking Facebook every five minutes, and to this end I recommend an app called Freedom, which will block you from your own internet for hours at a stretch. You need a story and characters and something to say about them, although it’s possible that some of these elements won’t arrive until after you’ve begun. You don’t need an agent or a grant or a publisher’s advance, and you don’t need to know whether your book will be studied at university in two hundred years’ time.
Walk into a bookshop and you will see books that you love and books that you hate, books that were written in three weeks and books that took thirty years, books that were written under the influence of drugs and alcohol, books that were written in splendid isolation, books that were written in Starbucks. Some of them were written with enormous enjoyment, some for money, some in fear and loathing and despair. The only thing they all have in common—and actually there is the odd honourable exception even to this rule—is that their authors finished them, sooner or later. How do I do it? I swear, and smoke, and hate myself for my presumption. And if any of that works for you, then I’m happy to have helped.
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So how did I do in the 2012 NaNo?