Is there such a thing as the perfect novel? And, if so, how does one go about writing it?
Once we’ve thought about it, I think most of us would agree that that the answer to the first question is an indisputable no. Perfection in art is unequivocally subjective. What one reader hails as perfection, another will throw across the room in disgust. As readers, our preferred reading experiences span the gamut from cuddly, reaffirming romances to gritty, life-challenging noir. And that’s awesome. A world without variety would leave us authors with very little of interest to write about.
But, inherent in this subjectivity, we also find the answer to our second question. Because the perfect novel will never exist, authors have lots of room in which to play around and find their niches. Therefore, the question isn’t so much “how to write the perfect novel” as it is “how to write my perfect novel.”
A line of encouragement from literary agent Scott Edelstein has informed my writing for years now. In his book, 100 Things Every Writer Needs to Know, he said “If you’re ever at a loss as to what to write about, ask yourself to imagine the one story, essay, poem, or book that you’d most like to read. Then write it.”
Too often, we allow ourselves to be inhibited by the expectations (real or imagined) of other people. What if the literati look down their noses because you write romance? What if the neighbors are scandalized because you write horror? What if secular readers scoff at your Christian elements? Such fretting can not only spiral into procrastination, it can also prevent us from writing our stories.
I have to write the stories God has given me. I understand and respect the great responsibility I have as an entertainer, but I also have to keep reminding myself that I can’t please everyone. As historian Studs Terkel put it, “Just about every book contains something that someone objects to.” Ultimately, all authors have to write primarily for themselves. If we can please just that one person, chances are we’ll be able to please a few others (maybe a whole lot of others) along the way.
So what is your perfect novel? That’s something nobody can say except you. Examine your favorite novels and movies for elements that particularly grabbed you. Battle scenes? Romance? Humorous dialogue? Plot twists? Sad endings? Happy endings? Chances are the story elements that are important to you are already showing up in your work. But if you can single them out on purpose and identify them, you can strengthen them and make them more intrinsic to your stories.
What about story devices toward which you're ambivalent? Maybe you just stuck that romantic subplot into your fantasy story because you felt that’s what readers would expect. But you’re not trying to write what readers expect, remember? Expected, often, is bad. So break the mold, go with your gut, follow your own inclinations. Don’t conform to standards simply for conformity’s sake. You’re not trying to be the next Dean Koontz; you trying to be the one and only you.
I admit it’s plenty difficult to drown out both the critics and the fans. With every person who reads my work and comments on it, I am forced to fight to keep their opinions from encroaching onto my own vision for my stories. Not, of course, that I don’t consider and deeply appreciate the guidance and thoughts of others (see “Putting Your Ego in Your Back Pocket”). But, ultimately, I have to make my own choices for my work, uninfluenced by others. I can’t sit hunched over my keyboard every day, poking out a word or two, and wondering if my readers will applaud or jeer.
Bestselling novelist Sloan Wilson said it perhaps as well as anyone: “A writer cannot choose his audience; he can only be himself and let his audience choose him.”
Don’t worry about what the world considers the perfect novel. Write your perfect novel, and let the world come to you.
Story by K.M. Weiland
Tags: Creativity , Inspiration , OYN , subjectivity , Writing Life
No one commented on this? :(
I once heard a comment on this topic. The person (can't recall the name) said, "Pretend doctors have given you six months to live and you have time to write one novel. One. What will you say? Now, go to your computer and say it."
I like that. Piles on the pressure a little more than does Scott Edelstein's suggestion.
I liked the Wilson quote, “A writer cannot choose his audience; he can only be himself and let his audience choose him.”
I do my best when I close my eyes to what others think and write what I would enjoy reading. An audience always comes.
To create any deep emotion in others, we first have to create it in ourselves. And the only way to do that is to be honest in what we write. If we are honestly writing a story that means something to us, most likely, it'll end up meaning something to someone else as well.
The Edelstein quote describes my present project. I uncovered a never before expanded upon historical anomaly in researching another story. You quoted in one of your videos (watched 'em all yesterday) that there is nothing new under the sun. But, what if, at least in the literary sense, there was? If you felt it was an important event how would you treat it? Would you stay in the period, ala Jean M. Auel, or have modern spies/ detectives/ archaeologists reveal the legacy? What are the literary dangers of jumping back and forth in time?
Thank you KM for all you are doing!
Jumping back and forth between time periods presents unique challenges. I did something similar in my historical western A Man Called Outlaw (although my time gap was only thirty years), and I can tell you that the most difficult part is creating *two* stories that are equally interesting readers. Also, you have to create a way to seamlessly indicate when you're switching back and forth - or else risk confusing readers.
I believe your MC in Behold the Dawn was based on a real life person that you researched? When your publisher calls and tells you that readers are begging for more (soon I hope!) and says "what if" the original Marcus had trained a village of peasants to protect themselves and that cabal of descendants still exists today righting wrongs. "Well," says you, "there were unaccountable journeys and missing years in his biography." "Right," says she, "give us plenty of horses, swords, and gallantry from those travels; but, have it told by a modern avenger who is passing this legacy on to his son."
Now what? :)
Actually, "inspired by" would be more accurate than "based upon." Aside from the basic idea of a character who fought in the tourneys and went to the Crusades, Annan doesn't have much in common with the real-life William Marshall. (Glad you enjoyed the book, BTW!)
Historical authors have both the responsibility to adhere to facts and the freedom to fill in the blanks with their imaginations. In a story such as one you've outlined, you would seem to be left with a lot of creative freedom to fill in those blanks, since the missing years don't anchor you to a set of facts.
Sorry, bad choice of words on my part. No harm intended! And thank you KM for your time and insight!
You're welcome! Always glad to help.
I think that while pondering the thought of writing, I have worried about being perfect. I can see there is much to learn and I have enjoyed your advise page after page! www.sandysanderellasmusings.com Sandy
Perfection is a crippler. Ernest Hemingway said, "We are all apprentices in a craft where no one ever becomes a master." The best we can do is write our hearts out and try to improve with every new story.