No more excuses. "Let the lawn get shaggy and the paint peel from the walls," bestselling novelist Walter Mosley advises. Anyone can write a novel now, and in this essential book of tips, practical advice, and wisdom, Walter Mosley promises that the writer-in-waiting can finish it in one year. Mosley tells how to:
- Create a daily writing regimen to fit any writer's needsand how to stick to it.
- Determine the narrative voice that's right for every writer's style.
- Get past those first challenging sentences and into the heart of a story. Intended as both inspiration and instruction, THIS YEAR YOU WRITE YOUR NOVEL provides the tools to turn out a first draft painlessly and then revise it into something finer.
|Publisher:||Little, Brown and Company|
|Product dimensions:||5.50(w) x 8.20(h) x 0.26(d)|
About the Author
Walter Mosley is the author of the acclaimed Easy Rawlins series of mysteries including national bestsellers Blonde Faith, Cinnamon Kiss, Little Scarlet, Bad Boy Brawly Brown, the Fearless Jones series including Fearless Jones and Fear Itself, the novels Blue Light and RL's Dream, and two collections of stories featuring Socrates Fortlow, Always Outnumbered, Always Outgunned, for which he received the Anisfield-Wolf Award, and Walkin' the Dog. He was born in Los Angeles and lives in New York.
Hometown:New York, New York
Date of Birth:January 12, 1952
Place of Birth:Los Angeles, California
Education:B.A., Johnson State College
Read an Excerpt
This Year You Write Your Novel
By Walter Mosley
Little, Brown and CompanyCopyright © 2007 Walter Mosley
All right reserved.
Chapter OneThe General Disciplines That Every Writer Needs
writing every day
The first thing you have to know about writing is that it is something you must do every day-every morning or every night, whatever time it is that you have. Ideally, the time you decide on is also the time when you do your best work.
There are two reasons for this rule: getting the work done and connecting with your unconscious mind.
If you want to finish this novel of yours within a year, you have to get to work! There's not a moment to lose. There's no time to wait for inspiration. Getting your words down on the page takes time. How much? I write three hours every morning. It's the first thing I do, Monday through Sunday, fifty-two weeks a year. Some days I miss but rarely does this happen more than once a month. Writing is a serious enterprise that takes a certain amount of constancy and rigor.
But will and regularity are only the beginnings of the discipline and rewards that daily writing will mean for you.
The most important thing I've found about writing is that it is primarily an unconscious activity. What do I mean by this? I mean that a novel is larger thanyour head (or conscious mind). The connections, moods, metaphors, and experiences that you call up while writing will come from a place deep inside you. Sometimes you will wonder who wrote those words. Sometimes you will be swept up by a fevered passion relating a convoluted journey through your protagonist's ragged heart. These moments are when you have connected to some deep place within you, a place that harbors the zeal that made you want to write to begin with.
The way you get to this unconscious place is by writing every day. Or not even writing. Some days you may be rewriting, rereading, or just sitting there scrolling back and forth through the text. This is enough to bring you back into the dream of your story.
What, you ask, is the dream of a story? This is a mood and a continent of thought below your conscious mind-a place that you get closer to with each foray into the words and worlds of your novel.
You may have spent only an hour and a half working on the book, but the rest of the day will be rife with motive moments in your unconsciousness-moments in your mind, which will be mulling over the places your words have touched. While you sleep, mountains are moving deep within your psyche. When you wake up and return to the book, you will be amazed by the realization that you are further along than when you left off yesterday.
If you skip a day or more between your writing sessions, your mind will drift away from these deep moments of your story. You will find that you'll have to slog back to a place that would have been easily attained if only you wrote every day.
Some days you will sit down and nothing will come-that's all right. Some days you'll wish you had given yourself more time-that's okay too. You can always pick up tomorrow where you left off today.
In order to be a writer, you have to set up a daily routine. Put aside an amount of time (not less than an hour and a half) to sit with your computer or notebook. I know that this is difficult. Some of you live in tight spaces with loved ones. Some of you work so hard that you can't see straight half the time. Some of you have little ones who might need your attention at any time of the day or night.
I wish I had the answers to these problems. I don't. All I can tell you is that if you want to finish your novel this year, you have to write each and every day.
learning how to write without restraint
Self-restraint is what makes it possible for society to exist. We refrain, most of the time, from expressing our rage and lust. Most of us do not steal or murder or rape. Many words come into our minds that we never utter-even when we're alone. We imagine terrible deeds but push them out of our thoughts before they've had a chance to emerge fully.
Almost all adult human beings are emotionally restrained. Our closest friends, our coworkers, and our families never know the brutal and deviant urges and furies that reside in our breasts.
This restraint is a good thing. I know that my feelings are often quite antisocial. Sometimes I just see someone walking down the street and the devil in me wants to say things that would be awful to hear. No good would come from my expressing these asocial instincts-at least not usually.
The writer, however, must loosen the bonds that have held her back all these years. Sexual lust, hate for her own children, the desire to taste the blood of her enemy-all these things and many more must, at times, crowd the writer's mind.
Your protagonist, for instance, may at a certain moment despise his mother. "She stinks of red wine and urine," he thinks. "And she looks like a shriveled, pitted prune."
This is an unpleasant sentiment, to be sure. But does it bring your hero's character into focus? This is the only question that's important. And there's no getting around it. Your characters will have ugly sides to them; they will be, at times, sexually deviant, bitter, racist, cruel.
"Sure," you say, "the antagonists, the bad guys in my book, will be like that but not the heroes and heroines."
The story you tell, the characters you present, will all have dark sides to them. If you want to write believable fiction, you will have to cross over the line of your self-restraint and revel in the words and ideas that you would never express in your everyday life.
Our social moorings aren't the only things that restrain our creative impulses. We are also limited by false aesthetics: those notions that we have developed in schools and libraries, and from listening to critics that adhere to some misplaced notion of a literary canon. Many writers come to the discipline after having read the old, and new, masters. They read Dickens and Melville, Shakespeare and Homer. From these great books of yore, they develop tics and reflexes that cause their words to become stiff and unnatural.
Many writers, and teachers of writing, spend so much time comparing work to past masters that they lose the contemporary voice of the novel being created on this day.
You will not become a writer by aping the tones and phrases, form and content, of great books of the past. Your novel lies in your heart; it is a book about today, no matter in which era it is set, written for a contemporary audience to express a story that could only have come from you.
Don't get me wrong-you can read anything and learn from it. But your learning will also come from modern songs, newscasts, magazine articles, and conversations overheard on the street. A novel is a pedestrian work about the everyday lives of bricklayers and saints.
Another source of restraint for the writer is the use of personal confession and the subsequent guilt that often arises from it. Many writers use themselves, their families, and their friends as models for the characters they portray. A young woman who has had a difficult time with her mother may render a tale in which the mother seems overly harsh, maybe even heartless. She (the writer) wades in, telling the story in all its truth and ugliness, but then, feeling guilt, she backs away from it, muddying the water. Maybe she stops writing for a while or changes her subject.
Whatever it is she does, the novel suffers.
This would-be novelist has betrayed herself in order that she not tell the story that has been clawing its way out from her core. She would rather not commit herself to the truth that she has found in the rigor of writing every day.
This form of restraint is common and wholly unnecessary.
To begin with, your mother is not reading what you have written. These words are your private preserve until the day they're published.
Also you should wait until the book is finished before making a judgment on its content. By the time you have gone through twenty drafts, the characters may have developed lives of their own, completely separate from the people you based them on in the beginning. And even if someone, at some time, gets upset with your words-so what? Live your life, sing your song. Anyone who loves you will want you to have that.
Don't let any feeling keep you from writing. Don't let the world slow you down. Your story is the most important thing coming down the line this year. It's your year-make the most of it.
avoidance, false starts, and dead-end thinking
Many writers-in-waiting spend a lot of time avoiding the work at hand. The most common way to avoid writing is by procrastination. This is the writer's greatest enemy. There is little to say about it except that once you decide to write every day, you must make yourself sit at the desk or table for the required period whether or not you are putting down words. Make yourself take the time even if the hours seem fruitless. Ideally, after a few days or weeks of being chained to the desk, you will submit to the story that must be told.
Straightforward procrastination is an author's worst enemy, but there are others: the writer who suddenly has chores that have gone undone for months but that now seem urgent; the diarist who develops a keen wish to write about her experiences today instead of writing her book; the Good Samaritan who realizes that there's a world out there that needs saving; the jack-of-all-trades who, when he begins one project, imagines ten others that are equally or even more important.
Forget all that. Don't write in the journal unless you're writing a chapter of your book. Save the world at 8:30 instead of 7:00. Let the lawn get shaggy and the paint peel from the walls.
For that time you have set aside to write your novel, don't do anything else. Turn the ringer off on your phone. Don't answer the doorbell. Tell your loved ones that you cannot be disturbed. And if they cannot bear to live without you, go write in a coffee shop or library. Rent a room if you have to-just make the time to write your book.
a final note about process
The process of writing a novel is like taking a journey by boat. You have to continually set yourself on course. If you get distracted or allow yourself to drift, you will never make it to the destination. It's not like highly defined train tracks or a highway; this is a path that you are creating, discovering. The journey is your narrative. Keep to it and there will be a tale told.
Excerpted from This Year You Write Your Novel by Walter Mosley Copyright © 2007 by Walter Mosley. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
The General Disciplines That Every Writer Needs 7
Writing Every Day 7
Learning How to Write Without Restraint 10
Avoidance, False Starts, and Dead-End Thinking 13
A Final Note About Process 14
The Elements of Fiction 17
The Narrative Voice 17
First-Person Narrative 18
Third-Person Narrative 22
The Omniscient Narrator 25
Final Notes on Narrative Voice 29
Showing and Telling 30
The Pedestrian in Fiction 36
Metaphor and Simile 37
Final Note on Showing and Telling 40
Character and Character Development 40
A Final Note on Character Development 47
Intuition Versus Structure 51
Final Thoughts on Plot and Story 61
The Uses of Poetry in Fiction Writing 62
Where to Begin 65
First Words 65
TheMidlands of the Novel 69
Rewriting, or Editing 73
The First Draft 73
The Second Draft 74
The Many Drafts That Follow 76
The Elements of Rewriting 78
The Nexus of Character, Story, Theme, and Plot 78
The Devil and the Details 81
Descriptions and Condensation 82
A Solitary Exercise 92
When Am I Finished Rewriting? 95
On Genre 97
A Note on Aesthetics 98
Writing Workshops 99
Literary Organizations, Agents, Publishers...and Getting Published 101
In Summation 103
Most Helpful Customer Reviews
Walter Mosley's no-nonsense attitude and wit really breaks through as he insists there are no excuses.... get writing NOW! He doesn't come across as bossy or irritating, yet he is very persuasive about working now and often on "your novel." (I love how he keeps reminding the reader it is "your novel - the one you are writing this year." It has served me as a lasting affirmation in this process.) This guide is a great place to start - there are certainly more in-depth guides depending on what you are writing about and your style. This book will really motivate you to just START WRITING, no matter what distractions present themselves or how much you doubt your talent as you go! Great advice! And I read the book in one day - got writing that day!
As a novice writer, I eagerly search out books that might help me produce quality work. "This Year You Write Your Novel" was definitely a title that caught my attention. Walter Mosley presents in 110 or so pages how a new writer should structure their time. He talks about first and third person narratives and the lesser known omniscient narrator and the pros and cons about each. One of the things I really enjoyed about this book is when the author would show examples by writing a short piece and then rewriting it to give it some flair to underscore the point he was try to make. He really states the importance of setting time aside every day to write. I thought that this book was an excellent bedside table reference book. It touched on the key subjects but didn't delve deeper. It was a quick read and the reader could definitely refer back to it when writing. If you are loooking for more indepth writing techniques, this isn't the book for you. It is good for those who don't want to be overwhelmed and want someone to hold their hand while they start out.
This book was filled with useful information. We all have a story to tell...we just need to get started on it now and not wait. Walter Mosley encourages anyone to just begin and follow certain criteria but you are not limited to anything. Very insightful.
This book is short and to the point. Gives you a great start on getting organized to write a book and good pointers for success.
Concise and to the point. Great tips for any aspiring author (like myself) and kept brief and open to variation. Mosley is one of my favorite authors -- who better to take writing advice from? This book was more like a little personal guidance from your mentor than it was one of those cook-cutter "how to write and get published" books that get churned out of the mill every year. I'll definitely be putting much of his advice in this book into practice soon.
As a novice writer, I eagerly search out books that might help me produce quality work. "This Year You Write Your Novel" was definitely a title that caught my attention. Walter Mosley presents in 110 or so pages how a new writer should structure their time. He talks about first and third person narratives and the lesser known omniscient narrator and the pros and cons about each.One of the things I really enjoyed about this book is when the author would show examples by writing a short piece and then rewriting it to give it some flair to underscore the point he was try to make.He really states the importance of setting time aside every day to write.I thought that this book was an excellent bedside table reference book. It touched on the key subjects but didn't delve deeper. It was a quick read and the reader could definitely refer back to it when writing. If you are loooking for more indepth writing techniques, this isn't the book for you. It is good for those who don't want to be overwhelmed and want someone to hold their hand while they start out.
What Mosley succeeds at in this book is stripping away the mystique of what it takes to write a novel. In a sense he's reduced novel writing to its essentials. These are the unavoidable things you must do to write a novel in a year, or in a lifetime. There is not much new or unusual in Mosley's advice. The main, unavoidable message -- but the hardest one for any writer to follow: write every day, and finish what you begin. Yet for all that, Mosley manages to also be inspiring. When you are done with the book, you want to write.
If you want to write a novel, you need to write every day. That will do it. You will write a novel. It may not be a good novel, but you will write a novel.
Spend at least an hour-and-a-half writing every day and you'll have a 50 - 60,000 word first novel by the end of the year. It will take three months or so to get a first draft and then nine months of rewriting. "Rewriting is where you make the story into song." Mosley briefly covers narrative voice, character development, plot, and editing succinctly, and then advises the aspiring prose writer to read and study poetry, "the fount of all writing."
Succint and useful