I’ve heard Mary Wasmuth’s diary entries and essays in the journaling class I lead at the Weston (Massacusetts) Public Library. They’ve moved me, and made me laugh. And I’m pretty sure they’ve made me smarter.
I’m thrilled that after several years of inviting Mary to contribute to this blog, she has agreed.
Enjoy her guest post! May you be wiser after reading it.
Then why am I spending my time writing this post? Shouldn’t I be starting a new folder, opening a new document, giving it my new title? Why do I sit in front of Call the Midwife—unlikely, I thought, to inspire binge watching—instead of my computer? I’ve seen eight episodes in five days. And why did I choose this moment to reorganize my writing files? Toss out my reams of painful early drafts?
It’s because I’ve started over so many times, so blithely. And, though I really believe (as I keep telling myself), I’ve found an approach that works, my memories of all the other hopeful starts paralyze me. I shouldn’t have gone through those files.
You see, I taught myself to write—with a great deal of expert help and guidance, though perhaps a little late in the game—by writing this novel. I learned and revised, learned and reshaped, learned and rethought and reshaped again. I eliminated narrators (whittling ten down to four) and killed off characters, including my carefully crafted, and re-crafted, second protagonist. I believed I was nearly done.
Thinking to polish things up a little, perhaps add a few final touches, I took the “Setting, Subtext, and Suspense” class in Michelle Hoover’s terrific novel series at Boston’s Grub Street. I rewrote three scenes in the one-day class, and I caught a glimpse of how much richer they could be, how much richer the novel could be. Which gave me the courage to cast a coldly objective eye over my first chapter. I deemed it . . . not good enough. I started to rethink. Again.
Of course, this is how you do it if you want to do it right. I know that. In Do Not Hurry—a blog post I reread whenever I start over, Michelle Hoover makes it clear that writing a novel simply “takes as long as it takes.” No way around it.
This time, at least, I know what to do, and I know why. Rather than the story of a mouthy, defiant girl who starts a punk rock band (called Fatgirlz), the novel will be a fictional history of Fatgirlz, a fictional punk band started by a mouthy, defiant girl. Suddenly, the four narrators make sense. Bands are unstable amalgams of individual musicians; a band story would have to incorporate several personal stories. Why, I could bring back some of my lost narrators!
I pause briefly to squelch this idea.
The new structure will be cleaner. More coherent. Maybe even funnier—because I am going to sneak in one more voice, a music critic. Band histories require critic-penned introductions. The more obscure the group, the more florid and pretentious the preface—and Fatgirlz is very, very obscure.
This could be fun. I really should just make that new folder. Open that new document. Call it Meet the Fatgirlz instead of Tastee Girl. And start over. One last time.
Have you ever decided to rewrite (and rewrite) a piece you’d considered finished? What was your approach? Did you take a break first? Tackle the thing head-on? Or, decide to catch up on all five seasons of Breaking Bad? Perfect your jump shot? Spring clean your apartment? Write a post for Tools and Tactics for Writers?
When she’s not avoiding rewriting her novel, Mary Wasmuth works as a librarian and job-search coach. She’s president of the advisory board for Framingham Adult ESL Plus and recording secretary for the Boston chapter of the Women’s National Book Association. Mary has studied at Grub Street, the Cambridge Center for Adult Education, Bread Loaf Writers’ Conference, and in Lynette Benton’s journaling class. Advertisement Disclosure This website contains Amazon.com affiliate links. That means that Amazon.com purchases that originate on Tools and Tactics for Writers will help offset the expenses associated with this site. Your support is deeply appreciated!