A Quote by Gloria Naylor
One should be able to return to the first sentence of a novel and find the resonances of the entire work.
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When I complete a novel I set it aside, and begin work on short stories, and eventually another long work. When I complete that novel I return to the earlier novel and rewrite much of it. In the meantime the second novel lies in a desk drawer.
Some readers read a book as if it were an instruction manual, expecting to understand everything first time, but of course when you write, you put into every sentence an overflow of meaning, and you create in every sentence as many resonances and double meanings and ambiguities as you can possibly pack in there, so that people can read it again and get something new each time.
The first sentence of the truth is always the hardest. Each of us had a first sentence, and most of us found the strength to say it out loud to someone who deserved to hear it. What we hoped, and what we found, was that the second sentence of the truth is always easier than the first, and the third sentence is even easier than that. Suddenly you are speaking the truth in paragraphs, in pages. The fear, the nervousness, is still there, but it is joined by a new confidence. All along, you've used the first sentence as a lock. But now you find that it's the key.
A novel, basically, is writing one sentence — then, without violating the scope of the first one, writing the next sentence.
Never trust the translation or interpretation of something without first trusting its interpreter. One word absent from a sentence can drastically change the true intended meaning of the entire sentence. For instance, if the word love is intentionally or accidentally replaced with hate in a sentence, its effect could trigger a war or false dogma.
The first sentence of every novel should be: Trust me, this will take time but there is order here, very faint, very human.
Elisabeth Sheffield's new novel is multilayered, smart, beautifully written, and funny. I was taken in by the first paragraph and held firmly through the roller coaster of a ride. The depth of the novel was evidenced by the constantly shifting meaning of the title itself. In fact, the entire work never changes its meaning, but somehow, seamlessly, simply means more. This is a rare and memorable piece of work.
The first sentence of every novel should be: Trust me, this will take time but there is order here, very faint, very human. Meander if you want to get to town.
Another reason I think the novel will survive is that the reader has to work in a novel. In a film, you are presented with someone else's imagination exactly bodied out. The marvelous thing about a novel is that every reader will imagine even the very simplest sentence slightly differently.
I hardly know what I'm going to write - an article, a story, a poem in free verse - or in some regular form. I only know that when I have the first sentence. And when the first sentence makes a kind of pattern, then I find out the kind of rhythm I'm looking for.
Read non-fiction. History, biology, entomology, mineralogy, paleontology. Get a bodyguard and do fieldwork. Find your inner fish. Don't publish too soon. Not before you have read Thomas Mann in any case. Learn by copying, sentence by sentence some of the masters. Copy Coetzee's or Sebald's sentences and see what happens to your story. Consider creative non-fiction if you want to stay in South Africa. It might be the way to go. Never neglect back and hamstring exercises, otherwise you won't be able to write your novel. One needs one's buttocks to think.
By mid-morning, I take a break from my novel and work on my Sunday Style column, which is about pop culture and what I find on the web. I usually start writing it at the beginning of the week and give it a couple of days to marinate before I return to it.
I revise constantly, as I go along and then again after I've finished a first draft. Few of my novels contain a single sentence that closely resembles the sentence I first set down. I just find that I have to keep zapping and zapping the English language until it starts to behave in some way that vaguely matches my intentions.
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.
That is what I define as a novel: something that has a beginning, a middle and an end, with characters and a plot that sustain interest from the first sentence to the last. But that is not what I do at all.
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.
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