Becoming a Writer

"Because creative writing has now taken off and has become this very widespread academic discipline it is beginning to acquire its own canon of key works and key texts. This is one of the oldest of them. It’s a book that almost anyone who teaches creative writing will have read. They will probably have read it because some fundamentals are explained and I think the most important one is Brande’s sense of the creative writer being comprised of two people. One of them is the artist and the other is the critic. Actually, Malcolm Bradbury who taught me at UEA, wrote the foreword to my edition of Becoming a Writer , and he talks about how Dorothea Brande was writing this book ‘in Freudian times’ – the 1930s in the States. And she does have this very Freudian idea of the writer as comprised of a child artist on the one hand, who is associated with spontaneity, unconscious processes, while on the other side there is the adult critic making very careful discriminations. No. Her point is that the two have to work in harmony and in some way the writer has to achieve an effective balance between the two, which is often taken to mean that you allow the artist child free rein in the morning. So you just pour stuff on to the page in the morning when you are closest to the condition of sleep. The dream state for the writer is the one that is closest to the unconscious. And then in the afternoon you come back to your morning’s work with your critical head on and you consciously and objectively edit it. Lots of how-to-write books encourage writers to do it that way. It is also possible that you can just pour stuff on to the page for days on end as long as you come back to it eventually with a critical eye. Get the weekly Five Books newsletter There are two ways in which you can start to get that wrong and produce bad work. One is where you don’t allow the critic in at all. And so it is just a constant outpouring of unmediated automatic writing, which can become a kind of verbal diarrhoea. And the other side of that is where you allow the critic too much authority and the critic becomes like a bad dad who finds fault with everything and doesn’t allow the child to produce anything. And that results in a sort of self-sabotaging perfectionism, which I have suffered from. I got very blocked, and I read this book and it unblocked me."

"When you’re a writer you’ve the feeling you’re someone who lives in your own world. Every now and then you come across someone who thinks the same way as you and it’s very illuminating. One of the things that really struck me about this book is what Brande says about writing and the morning, which is when I write best. I do a few things like getting my son up and sort of obvious practical stuff and then I’m not always able to sit and write as I’d like because I have other writing jobs, some of which are out of the home. But Dorothea describes this almost hypnotic state that writers are in during the morning. She says this is the time that many people write best. When you’re in this slightly trance-like state, if you have to answer a phone call or do something else first thing, it can take that away. Another of the chapters I like very much is about reading as a writer. She says you’ll often find that at first the only way to read as a writer is to go over everything twice. She says to first read as you did in the days when you had no responsibility to a book but to enjoy it. When you’ve finished she advises putting the book aside for a while and then writing a synopsis of what you’ve just read. Next say what you did and didn’t like. This will help you work out what you can do with your own book. So obviously not plagiarising but looking at the way that it’s constructed and seeing whether any scenes stand out in your mind. It’ll help you recognise some of your own weaknesses. I used to love Fay Weldon’s early books and Maeve Binchy books but to be honest I’m an eclectic reader and I wouldn’t say any of them have a huge influence on me now."