May 27th, 2008 bhenricksen
Henricksen’s first rule of writing a memoir is that you better have had interesting experiences, and the second is that you better have something interesting to say about them. You ought to be clear in your mind about why total strangers, not just Mom, should read your little book.
Too many people are writing memoirs. There’s memoir glut. If you haven’t invented the doomsday machine or a cure for death, write letters to your friends. Don’t write a memoir.
But there are exceptions. An old friend of mine from New Orleans, Judy Connor, wrote a wonderful memoir called Southern Fried Divorce. I knew Judy when she sported a different last name, and I picked up her book having heard only that people in Louisiana were enjoying it. Five pages in, I realized that I had known the eccentrics and zanies she was offering up. Read the rest of this entry »
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May 24th, 2008 bhenricksen
Charles Baxter’s The Feast of Love was a finalist for the National Book Award in 2000 and has been made into an excellent film with Morgan Freeman. I’ve just finished reading the novel, finding it charming and moving. Rather than focusing on a single protagonist, Baxter coaxes together a wonderful ensemble of characters, each recounting his or her own amorous tale.
The unifying device is the notion that each character is speaking to the author, Baxter himself, as he seeks out people to tell him about their encounters with Cupid. Baxter is deft in creating the unique voice of each character, and perhaps he’s at the top of his game with the character of Chloe, a latter-day flower child who broke my heart and then put it together again.
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May 8th, 2008 bhenricksen
A couple of weeks ago my wife and I drove to Crosby, a small city about 100 miles west of Duluth. This year is the 30th Anniversary for the Hallett Memorial Library, and Peggi, the lady who runs things with great energy, skill and good humor, had invited me as part of the celebration. On Thursday evening I spoke about James Wright, and on Friday I conducted a workshop on fiction for the Quill Masters.
The QMs are an enthusiastic group of local writers, and we had a lot of fun bouncing ideas around. I talked about how to tweak dialogue to suggest the things that characters won’t say outright, and how to shape plots so that what is unsaid at the outset rises to the surface as things heat up.
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April 10th, 2008 bhenricksen
Graywolf Press of St. Paul, MN is publishing a series of books on the art of literary writing, each focusing on a different aspect of that art. Judging from the two I’ve read so far, this may well become the definitive collection for writers, teachers, and readers.
Ron Carlson Writes a Story, by (surprise!) Ron Carlson, takes us through the writing of one of his short stories, discussing his creative process in nearly a line by line fashion. The book is perhaps a more useful version of Robert Olen Butler’s video of himself writing, and it is also reminiscent of Roland Barthes’ S/Z, which offered a line by line analysis of Balzac’s “Sarrasine.” Carlson starts by talking about where the general idea for the story (”The Governor’s Ball”) came from, moves on to how he named his characters, and then to how he placed them in a specific setting. In discussing dialogue, he dismisses the old view that it should serve mainly to advance plot. Carlson’s advice is for the writer of a more modern, character-driven fiction, where dialogue exists as a window into the unconscious and the unsayable, a window into subtext.
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