Jim Aikin's Oblong Blob

Random Rambling & Questionable Commentary

Quality Assurance

Posted by midiguru on July 6, 2013

Okay, I admit it. I’m a snob. I like excellence, and I have very little patience with shoddy workmanship.

Over on the Hatrack River writers’ forum, I stirred up a wee controversy this week by suggesting that how-to-write suggestions from unpublished authors ought not to be blindly trusted. I was responding to a statement by the moderator, who said this:

“After all, one of the reasons a workshop like this can be of any use to writers is the idea that a writer may be able to help others’ writing even if that writer has not succeeded in producing publishable work yet.”

One of the regular contributors to the forum echoed this sentiment, saying, “…the one strength we have to share is that there are no wrong answers. There is only what in any one individual’s opinion works or doesn’t work for that individual.”

My first response was this:

“I can certainly see that an unpublished writer can catch grammatical or spelling errors, or function as a cheering section. An unpublished writer could also provide useful links to online tutorials written by published authors. An unpublished author who is an expert in a specific area, such as medicine or law, could provide good advice within that area. But with respect to the higher-level mechanics of fiction — plot, characterization, theme, point of view, and so on — I personally would feel reluctant to give too much weight to the suggestions of an unpublished author.”

The writing of fiction is a rather odd art form. Nobody starts out assuming that they know how to paint lifelike realistic paintings, but everybody starts out knowing how to talk. So it’s tempting to assume that if you just write naturally, setting down your thoughts as if you were talking, your writing will be excellent. But this idea is an illusion. Good writers put quite a lot of craft into their work.

To the untutored eye, the craft is invisible. The narrative seems to flow along effortlessly, so the untutored author is likely to think, “Gee, I can do that.”

In critique workshops, I’ve read quite a lot of fiction by unpublished authors. The mistakes are sometimes glaring and sometimes subtle, but a typical manuscript is riddled with mistakes. Would I trust an author whose manuscripts are riddled with mistakes to suggest how I might improve my work?

I love suggestions! From time to time a complete novice may make a wonderful suggestion. But as I said above, I would feel reluctant to give too much weight to suggestions by unpublished authors. I would evaluate the suggestions based on my own knowledge and experience. I would not trust their suggestions. That’s all I’m saying.

I went on, in the forum, to explain my views by comparing writing to my experience with music:

For the past ten or twelve years I’ve been playing cello in various community orchestras. I’ve been privileged to play with some wonderful musicians, many of whom were unpaid amateurs. I can assure you, however, that each and every one of those wonderful musicians had studied with a well-trained private teacher and practiced for years, in order to develop the necessary techniques.

I’ve also found myself onstage playing concerts with a few musicians who were, frankly, very bad. They had no business whatever performing for anyone who was paying money for a ticket, but there they were anyway, onstage, performing. In a community orchestra, you take the best musicians you can find. Sometimes you can’t find good ones.

I can tell the difference between a great musician, an adequate musician, and a fluster-fingered wannabe. The idea that there are no differences amongst them is laughable. The same logic that would claim, “There are no wrong answers,” would lead one to say of musicians, “There are no wrong notes.”

(I know Miles Davis said exactly that, but he was talking about jazz, not about classical music — and he was talking about jazz played by wonderfully talented artists who were operating at a very high level. Last weekend I was listening to a local jazz combo playing at a local coffee house, and I can assure you, I heard a few wrong notes.)

The democratic impulse, to welcome everybody and respect their right to express their thoughts, is a wonderful thing. It’s admirable. Through presenting our ideas and getting feedback on them, we learn.

But in my opinion, it’s a serious mistake to assert that anybody’s opinions are as valuable as anybody else’s. It’s muddled thinking. Attempting to maintain that principle in a forum that provides technical support for aspiring writers runs the serious risk of misleading and confusing the very people that you’re trying to help.

One response to this post suggested that a writer was more like a composer than like a performing musician, and that for a composer, there are no wrong notes. That’s an interesting and not irrelevant observation — but in the case of a short story or novel, there is no performer. As a writer, you’re both the composer and the performer.

Also, for the record, most composers of classical music study composition with experienced teachers. There are many ways to write classical music badly!

Another response pointed out that there are a lot more self-taught writers than self-taught symphony musicians. This is also true, I’m sure. But for every writer who “gets it” without any tutoring or mentoring and goes on to write published fiction, I’m sure there are hundreds who think they can do it that way but who never get anywhere. They may give up in despair. They may reject useful suggestions out of a wrong-headed belief that their native intuition is the only light by which they need to be guided. They may become convinced that the publishing industry is hopelessly corrupt and conspiring to smother their undiscovered genius.

My own experience is all I can go by. Nobody (other than probably my teachers in grade school) taught me how to write. I landed a job as an editor and staff writer at a music magazine without ever having studied writing. But at that job I was writing and editing nonfiction.

A few years later, I started writing fiction. When I was unable to sell my first few stories, it occurred to me that I didn’t need to reinvent the wheel. There were lots of books on the market, written by published authors of fiction, explaining the rudiments of the craft. Why should I not avail myself of their generously shared expertise?

So I did. I bought lots of books on how to write fiction, and I read them, and I underlined passages. And pretty soon I started to sell a few short stories to pro markets like Asimov’s and Fantasy & Science Fiction. Then I sold a novel. Then I sold another novel.

Could I have made those sales without studying the craft? No fucking way. And I was already a professional writer of nonfiction.

You don’t have to reinvent the wheel.

Footnote: One of the individuals quoted above objected, in strenuous and insulting terms, to being quoted in this little essay without his or her explicit permission. (The person posts under a pseudonym rather than using his or her real name, so his or her gender is unknown.) It’s clear to me that my usage of these short quotes is fully legal under the doctrine of Fair Use, so I will not delete the quote in question unless I’m persuaded to do so by imminent threat of legal action. I would, however, strongly recommend that my readers avoid the Hatrack River writers’ forum. At least one of the regular participants on that forum is a narrow-minded bully.

4 Responses to “Quality Assurance”

  1. Dr.Bob said

    I am sorry your short visit to Hatrack was unrewarding. I think you have much to offer from your experience as a professional author with sales over three decades to Amazing, Asimov’s, F&SF, and Omni (I loved that belated slick magazine), an appearance in “The Years Best Fantast Stories” (1987), two published novels, and a more recently self-published novel, etc. In many Forums I have frequented, I do wish some participants would leave their egos at home (though I do agree it is always good form to provide sources and links to material and people you quote). Good luck with your continuing creative endeavors.

    • midiguru said

      Thanks for the support. In general, I agree about providing sources and links. I had linked to Hatrack River in another blog post a few days before, so I didn’t bother doing so this time. Whenever you provide a link, some people will immediately click on it. If you hope people will keep reading, it’s better not to use too many links.

      With respect to identifying the sources, since I was being rather critical of what these folks said, I felt it would be more discreet not to mention them by name. Giving their names would have given my essay more of a flavor of an attack, and attacking was NOT my intention. If any of them feels they’re being misinterpreted, or if they want their words to be attributed by name, of course it would be simplicity itself for them to post a comment to that effect on this post. I wouldn’t delete such a comment, though I reserve the right to delete comments that are inflammatory or off-topic.

  2. Hmmm, I’m not really sure what you are arguing here. No one ever said that new writers shouldn’t read and study books on the craft written by published authors. I think anyone serious about writing should do that. The way I think of self-taught is studying the craft on your own instead of having a formal education (be that a creative writing degree, MFA, or attending writer’s workshops like OSC’s bootcamp). I thought by your cello annalogy that that was what you were arguing that all of us should take classes or find a mentor who has credientals or we didn’t have a chance to get published. But I see your journey as a writer as one who is self-taught, just smart enough to read up on the craft. I think most of us over on Hatrack on are that path.

    I would argue that no writer should blindly follow anyone, be that an unpublished writer or a critically aclaimed, best selling novelist. There is so much advice out; a lot of it is contradictory, and in the end, only you can figure out what works for you. Anyone who is just looking for someone to tell them what to do isn’t going to make it. We need to read up all we can and then experiement with that advice and figure out what works for us.

    Personally I don’t need to know someone’s credentials to know if I should follow their advice or not. If the advice makes sense to me, I’ll use it. If it doesn’t, I won’t. I don’t care if you are a first time writer or Stephen King. :)

    • midiguru said

      Thanks for the reply, MaryAnn. I’m not sure I’m arguing anything — it’s more like thinking out loud. But I do worry a bit that aspiring writers may not get the most reliable advice or feedback from other aspiring writers, and that they may not yet have the skills or intuition needed to evaluate the advice and feedback. This can lead to pointless wheel-spinning, or into a cul-de-sac. I don’t think I’m alone in wondering about that. I read a comment to that effect from someone yesterday on a different forum (I forget which one).

      My other observation, I suppose, is that writing fiction does in fact require a particular set of skills, a particular kind of knowledge about how to handle various narrative challenges that may arise, and that aspiring writers won’t always recognize the challenges, much less know how to find and evaluate possible solutions. When you’re starting out, you’re not likely to be able to see what’s wrong with your manuscript. (I certainly didn’t know what was wrong with the first 15 stories I wrote! For that matter, I’ve written several unpublished novels that had deep-seated problems that I didn’t see — and that was AFTER I had had two novels published.)

      The good news is, other aspiring writers may be able to identify the problems in your manuscript more easily than you can, simply because they’re coming at the material from a fresh, detached angle.

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