A Quote by Emily Barton
I feel that there is an alternate ending that leaps off too far into fantasy and there is an alternate ending that leaps off too far into pessimism, but that, in fact, the novel as it has developed should, if it's functioning correctly, have equipped you as the reader to make your own decision about where you want to go with that, about where you're going to fall on that continuum. So, the novel is taking you directly up to the point that you have to choose, and it's letting you do that.
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The development of the plot of the novel leads to a single point, and it's my opinion that the ending that the novel has, which is a somewhat ambiguous ending, is the only logical ending given the structure of the book as a whole.
I feel really strongly about not wanting to overly guide the reader about what he or she should think. I really trust the reader to know for themselves and not to need too much. You have your own imagination, your own experiences, your own feelings, and a novel wants ultimately to ask questions. It doesn't assert anything, or shouldn't, I think.
In general, I think every novel is a political novel, in that every novel is an argument about how the world works, who has power, who has a voice, what we should care about. But political novels can be boringly polemical if they end up being too black and white, too one dimensional, like war is bad, killing people is wrong.
With a live audience, it's very clear when you've pushed it too far to the edge - because you fall off that edge and hit bottom with a thud. Nothing abstract about that. You know you went too far when you hear that groan or worse - that silence instead of the big laugh you were expecting following your hilariously edgy joke.
The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.
I don't revise a lot when writing short stories. As far as the novel, I definitely thought more about plot. Honestly, I'm still pretty confused about what "plot" means. I've been reading some of my Goodreads reviews and one reader noted that the The Last Days of California "reads like a short story stretched to the breaking point, padded and brought into novel range..." I don't know what people want, really.
With every decision that anyone makes, the world changes. The decision that we give our consent to is the one that remains in our consciousness, but the one that we didn't make-that alternate world goes on in its own direction. So there's uncountable numbers of alternate "us-es."
When the ending finally comes to me, I often have to backtrack and make the beginning point towards that ending. Other times, I know exactly what the ending will be before I begin, like with the story "A Brief Encounter With the Enemy." It was all about the ending - that's what motivated me.
Now, as a reader, you shouldn't feel the decisions the writer makes about this DNA, or it would be boring beyond belief. But, as a writer, you're struggling to make these decisions. What should the title be? What's the first line? The point of view? And the struggle with the decisions is because you're trying to figure out WHAT IS THE NOVEL, WHAT IS THE NOVEL?
The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don't know - Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel - the quality of philosophy.
The ending has to fit. The ending has to matter, and make sense. I could care less about whether it's happy or sad or atomic. The ending is the place where you go, “Aha. Of course. That's right.”
Busyness, I feel increasingly, is the writer's curse and downfall. You read too much and write too readily, you become cut off from your inner life, from the flow of your own thoughts, and turned far too much towards the outside world.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Beginning a new habit, or ending an old one can feel like letting go of a rope that swings a mile above the ground. So we feel reluctant to let go, after all, we've survived so far doing what we've done, why risk it.
I need to be allowed to make my own decisions and mistakes, take leaps - and fall - without receiving too much help, because it's what I'll be doing for the rest of my life.
The sugar tax is fine. I agree with that. But I think it probably doesn't go too far. But then, I work on 'The Great British Bake Off.' We make cakes with sugar and butter. I can't be too critical. It is like anything in life: it is all about moderation.
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