Author and Novelist Glynn Young
I was interviewed by Wombwell Rainbow, a U.K.-based site that features interviews with local, regional, national, and international writers. The discussion ranged from reading and writing poetry to work ethics, writing, and favorite authors.
You can read the entire interview at Wombwell Rainbow.
A friend and fellow writer asked me if I edited my writing as I wrote or after I finished a draft. My answer was yes. I do both. I edit as I write, over and over again, and I edit once the draft is “finished,” if that’s possible.
The question provoked a deeper thought. Is it possible for me to separate editing and writing?
The answer is no, and I suspect computers have something to do with it.
I was trained in journalism. At the time, classroom technology consisted of Royal manual typewriters. Electric machines were available, but my journalism school couldn’t afford them. I taught myself typing on a portable electric typewriter, but in-class assignments and tests were done on the manual Royals. I can still remember the sound of 20 journalism students pounding on typewriter keys.
To continue reading, please see my post today at the ACFW blog.
Photograph by Stanley Dai via Unsplash. Used with permission.
I’ve been working on a story, and Michelangelo pops into my head.
He has nothing to do with the story. And I’m not writing about art or sculpture on Italy or the Renaissance or anything related to those subjects.
But something happens in the process of writing that story, and it has to do with something Michelangelo said about sculpture.
“Every block of stone has a statue inside it,” he says, “and it’s the task the sculptor to discover it.”
He follows it up with a slight variation: “I saw the angel in the marble and carved it until I set him free.”
I think the quotes were a bit presumptuous, but it is Michelangelo who says them, so who am I to judge?
And then I have something like a Michelangelo moment.
I don’t see a statue in the rock, or an angel, and I’m writing, not sculpting. But I learn exactly what he means.
It seems like I’ve been working on this story for years, and I suppose I have. Parts of it go back a decade or more. Most of it is new, but it has a history, a past.
I’m well into the story, working it over and over, editing and adding and deleting, and suddenly something almost jumps out from the page. I’ve typed something that happens in the conflict between a father and a son, and I can’t for the life of me figure out where it comes from, because it isn’t in the outline, in my notes, my mental plan, or in any version previous written.
I stare at what I’d typed. Why did I write that?
Then it hits me. What I’d written was the whole point of the story. It was what the story was actually about, what it has really been about from the beginning. And it has simply, or finally, emerged from the words.
Completely thrown, I reread the story from the beginning, some 90,000 words worth.
It was almost too obvious, except it isn’t. But it’s there from the very beginning, slightly submerged below the surface, the whole idea that the story has been turning toward, never breaking the surface until it almost couldn’t help itself.
I did not plan this, I admit to myself. Or did I?
I read through section after section, figuratively smacking myself upside the head. How did I miss this? How am I writing a story with the main point that close to being obvious, yet I still miss it until it starts screaming at me?
That angel in the marble had suddenly broken cover. He was out in the open, shaking his head. What took you so long? I’ve been trapped inside this piece of stone until you finally wised up. A little slow on the uptake, are we?
I go back through the story again, closely reading it, seeing the places where it almost emerges but doesn’t. I start editing, to make a suggestion here, hint a possibility there, make a clear-cut indication in another place.
The story has fundamentally changed, but this is what it has really been about from the beginning.
Michelangelo was right.
Photograph by Akash Patel via Unsplash. Used with permission.
I was an early reader. I don’t recall how early, but I do remember riding my red bicycle to the dime store when I was six, to spend 59 cents to buy Trixie Belden and the Secret of the Mansion. It was the first of many such trips, for more Trixie Belden mysteries, Robinson Crusoe, Treasure Island, Black Beauty, and Tom Sawyer, among others, published by the Whitman Publishing Company of Racine, Wisconsin.
When fourth grade arrived, I could participate in the monthly Scholastic Book Club. Few things in school were as exciting as the teacher handing out the four-page order form for the new books available. Most were priced at 25 or 35 cents. One or two would be 50 cents. My mother allowed me a monthly budget of $1.50.
Scholastic Book Club ended with sixth grade, so I was more on my own. I found my way to and around the book sections of department store and local bookstores, including the ones opening at the new shopping malls sprouting all over my suburb of New Orleans. I still have great memories of one called the Dolphin Book Shop at Lakeside Shopping Center.
To continue reading, please see my post today at the ACFW Blog.
Photograph by Annie Spratt via Unsplash. Used with permission.
Like most of us, I read poetry – a lot of poetry – in high school and college English classes primarily because it was assigned. I was much more interested in fiction (Dickens!) and noir mysteries (Dashiell Hammett!) than I was in Tennyson, Wordsworth, Coleridge, and the Elizabethans.
My attitude changed with T.S. Eliot and “The Love Song of J. Alfred Prufrock.” It was first published in 1915, and Poetry Magazine published it only as a favor to Ezra Pound. The editors were so uncomfortable with it that they placed it at the back of the issue. But it was our first great modernist poem, and it changed poetry forever. A high school senior, I read that poem, and I was mesmerized. I went to the local bookstore and bought a small paperback edition of Four Quartets (I still have it; it’s now more than 50 years old).
To continue reading, please see my post today at the American Christian Fiction Writers blog.
Photograph by Thought Catalog via Unsplash. Used with permission.
Writing a novel is a hard, lonely work. You often struggle through a story, writing and rewriting and editing and deleting whole sections because, well, they’re just bad and aren’t going the way they need to go. And when you finish writing a novel, if there ever be such a thing, you have all the worry and anxiety and disappointment of how people will respond.
And then you read a review, like “A Prophet Raised Up for Such a Time as This” by Luke Herron Davis. And you tell yourself this is why you write.
An award-winning speechwriter and communications professional, Glynn Young is the author of six novels and the non-fiction book Poetry at Work.
