I’ve been spending a lot of time the last few days thinking about this big writing project I have in mind, the one I’ve written about 25 pages of so far. I find myself running up against multiple problems, many of which I’ve encountered in other projects. Some are really minor, and some threaten to ruin the whole thing. In no particular order:
How do I write autobiographical fiction? Actually, this question is more “Is it okay to write autobiographical fiction?” Early in my writing career (which is to say, as a teenager), some trusted and well-meaning friends criticized the fact that my fiction was always, at least to begin with, based on something that had happened to me. At some point I came to the conclusion that the only reason I felt compelled to write this way was that I wasn’t creative enough to come up with anything else. Even though I now realize that there is a long and illustrious literary tradition in this vein, I still have a lot of doubts about it. And not the sort of doubts you would expect, like “Would people end up hating me if this were ever actually published?” But more like “Am I cheating by basing this story so much on things that actually happened?”
How do I write characters that are more intelligent than I am? If I assume, reasonably, that my protagonist is approximately as intelligent as I am, what happens when she encounters another character who is smarter than she is? I’m sure there are ways around this, but I haven’t figured out what they are yet, and the part of the story that involves two characters discussing literary theory is currently represented as {stuff I’ll write later}.
How do I choose books for my characters to read without sounding pretentious? I can’t believe how hard this is! Books and reading frequently turn up in my fiction because it’s something that I and people I know do all the time; it’s a natural part of life. And I swear I am not trying to send a message or impress anyone with the books I select; I just want it to be something realistic and interesting. I mean, of course the book is going to send a message; whether a character is reading Janet Evanovich or Borges is going to tell you something about that character. But I’m not trying to personally send a message or name-drop. Nabokov is the author closest to my heart but I refuse to reference him directly because it feels like a personal cliche. Right now I have a character reading The Unbearable Lightness of Being, which is a book I love, but it also seems kind of cliche. But maybe that’s okay because my two main characters are English majors, and when better to read cliched fiction than when you’re a self-involved undergrad?
Related somewhat to the previous question, how do I write characters in their early 20s who are actually reasonable and likable? I was a total idiot in my early 20s. I think a lot of people are confused about things at that age and make stupid mistakes, but I don’t know how to write these characters and make them, at a bare minimum, tolerable. If people ever read this book, I want them to think “Oh, I remember that time in my life,” not “This story and these characters are utterly immature.”
Which also leads me to the question of perspective. I started the story in first person, present tense. I am not at all convinced that that’s the best way to approach it. Should my protagonist tell the story in the past tense, perhaps in a memoir-type style? Or should I just ditch the first person entirely embrace the third person? I think this will require some experimentation.
What responsibility do I have to keep the secrets of the dead? And, perhaps more importantly, what responsibility do I have to keep those secrets true, as opposed to mucking them up with fictionalization? As Jim White says, “It’s a sin putting words in the mouths of the dead… It’s a crime to weave your wishes into what they said.” I think that the reason that this bothers me is that in the case of other fictionalized characters in the story, there is still a real person who is alive and knows the truth of what happened, and that makes me feel okay about creating a kind of revisionist history. But this person is no longer here to serve as a vessel for her portion of this reality, and that bothers me. (She’s also no longer here to serve as an incredibly intelligent, talented, creative, hilarious friend, but that’s another issue entirely.)
How do I write about unrequited love and make it poignant and not pathetic? How do I justify my protagonist’s decision to remain involved with a person who is not treating her as well as he should? That’s a very realistic and human thing to do, but I still doesn’t make sense, and I feel I have to make it make sense to my readers somehow. I know I have to make my readers fall in love with my protagonist’s love interest in some way, but I’m not sure how to accomplish that.
I’m finding that I really love writing about the writing process in my blog. Hopefully it’s not painfully boring to read! But it really helps me to work on stuff this way, and it’s also validating in a way to discuss the writing process publicly and not make creative writing a secret hobby that I feel ashamed to be attempting.
To balance the preceding list of writing woes, here are a couple things I really love about this story:
The sex. It’s central to the story, and it’s so fun to write. I’m also pretty good at it, if I say so myself.
The various themes it deals with, including the concept of being intimate with someone through another person (this has always fascinated me), flexible sexualities, mental illness, and class distinctions.
Doesn’t that sound fascinating? Now if only I can do it justice.