How do you mange the difference between trusting the novel/material to do its thing as you write it and/or imposing your authorial view on what you want the work to do or be 'about'? I know it's a kind of a psychological sleight of hand (like when a gym trainer or yoga person explains what your muscles are meant to do in a new way and it makes ALL the difference), but I imagine you have thoughts and possible advice?! I guess I'm asking how do you get out of your own way while acknowledging that it's your brain 'making' the way??? K xx
Were you ever tempted to move away from Australia and to one of the more 'literary-intense' cities like New York or London? Do you ever feel frustrated or somehow small-pond here? Alternatively, what's special about Australian literature in particular?
I wonder if you could discuss avoiding self-consciousness in making art, the value of sincerity, listening deeply to one's own feelings and expression, and being able to process worthy criticism without being crushed by it.
How do you think about structure in your writing? Do you stick to a worked out structure or do you follow instincts and let characters lead? Or something in-between?
Yes I, too, was wondering about your thoughts on structure. Was each book different in how quickly you knew what the structure would look like? His much does structure drive redrafting? Have you ever found yourself with a substantial draft but without a workable structure? Is that a sign we need to subtract? Any thoughts…
I very much enjoyed your recent essay on time. It splashed an overcoat of a new shade on something I'm feverishly conscious of and helped me to accept, due to a few of the reasons you mention, that this phase of my life is a water colour, and water colours, although thin, are still worth painting.
And it got me thinking about Jude Rae's comment in regards to our art. How might we apply thick and thin paint with our words? What elements of a novel might you consider to be thick and thin? And does it make for a more captivating read?
A touch of synchronicity here with your question Charlotte as I have just finished reading the first essay in Hilary Mantel’s A Memoir of My Former Self, which starts with “Which hand do you write with?” and then after reading the essay I see this post. So, which hand do you write with. Thanks!
1. Would you ever consider including writing prompts in your substack i.e. for us as readers?
2. A more meaty one...I adored TLS so very much, as I've mentioned before. What I loved most was the blend of art, creativity,process, but most of all, your personal reflections and yourself in the writing. I'm curious to know, how do you/ we/ one write and include the self, without an essay becoming about the self? I just thought you did this so well.
What’s the best piece of writing OR life advice you ever received? What piece of advice do you regularly impart? Thank you and I hope you’re recovering from your trip. It was so lovely to meet you in Mildura!
Charlotte, have you ever abandoned a novel in progress? Not just an idea, but a draft reasonably well advanced. (And if you have, why? And have you ever thought of going back to it?) Thank you :-)
How do you mange the difference between trusting the novel/material to do its thing as you write it and/or imposing your authorial view on what you want the work to do or be 'about'? I know it's a kind of a psychological sleight of hand (like when a gym trainer or yoga person explains what your muscles are meant to do in a new way and it makes ALL the difference), but I imagine you have thoughts and possible advice?! I guess I'm asking how do you get out of your own way while acknowledging that it's your brain 'making' the way??? K xx
good one. hard one! x
Were you ever tempted to move away from Australia and to one of the more 'literary-intense' cities like New York or London? Do you ever feel frustrated or somehow small-pond here? Alternatively, what's special about Australian literature in particular?
Congratulations for being included in the Booker long list! How does it feel?
I wonder if you could discuss avoiding self-consciousness in making art, the value of sincerity, listening deeply to one's own feelings and expression, and being able to process worthy criticism without being crushed by it.
How do you think about structure in your writing? Do you stick to a worked out structure or do you follow instincts and let characters lead? Or something in-between?
Yes I, too, was wondering about your thoughts on structure. Was each book different in how quickly you knew what the structure would look like? His much does structure drive redrafting? Have you ever found yourself with a substantial draft but without a workable structure? Is that a sign we need to subtract? Any thoughts…
I very much enjoyed your recent essay on time. It splashed an overcoat of a new shade on something I'm feverishly conscious of and helped me to accept, due to a few of the reasons you mention, that this phase of my life is a water colour, and water colours, although thin, are still worth painting.
And it got me thinking about Jude Rae's comment in regards to our art. How might we apply thick and thin paint with our words? What elements of a novel might you consider to be thick and thin? And does it make for a more captivating read?
I am absurdly excited by this! Thinking up some questions right now!
How do you get rid of perfectionism when you're drafting a novel and propel the story forward? I'm unable to break out of short story mode it seems.
A touch of synchronicity here with your question Charlotte as I have just finished reading the first essay in Hilary Mantel’s A Memoir of My Former Self, which starts with “Which hand do you write with?” and then after reading the essay I see this post. So, which hand do you write with. Thanks!
Brava!!
I was just about to ask that question!
I mean, the one about being on the Booker longlist!!
It would be great to hear your thoughts on when is the right time to read into the story (research) and when to write into the story?
Two questions, if I may:
1. Would you ever consider including writing prompts in your substack i.e. for us as readers?
2. A more meaty one...I adored TLS so very much, as I've mentioned before. What I loved most was the blend of art, creativity,process, but most of all, your personal reflections and yourself in the writing. I'm curious to know, how do you/ we/ one write and include the self, without an essay becoming about the self? I just thought you did this so well.
This is already very exciting to read!
What’s the best piece of writing OR life advice you ever received? What piece of advice do you regularly impart? Thank you and I hope you’re recovering from your trip. It was so lovely to meet you in Mildura!
Hi Charlotte
Do you have any suggestions for how to reengage with and progress a draft novel that has been in a drawer for quite a while ? Thanks!
Charlotte, have you ever abandoned a novel in progress? Not just an idea, but a draft reasonably well advanced. (And if you have, why? And have you ever thought of going back to it?) Thank you :-)