Anyone who has been in a properly run therapy group understands that members are not sitting within the sacred circle to impose their views of right and wrong on the experiences and dreams shared by other members. To do so would stifle the speaker's search for his or her truth as well as the best means of communicating it.
It is my nature to distrust writers critique groups because the frame of reference from which those in the group may view each writing sample they see is the world of "shoulds" and "oughts" of daily conversation. While it may be fun to converse over the backyard fence about the probable insanity of the mayor or the stupidity of those who made the latest popular movie, such opinions are just as detrimental to the writer and his/her work in progress as judgemental comments in a therapy setting.
I do not intend to put an overly dramatic spin on the art and craft of a writer and his/her muse bringing something new (the story, novel, or poem) into existence. However, the process, like alchemy, is that of birth or rebirth. It must proceed forward without unnatural interruptions (i.e. judgemental comments) or the work may be stillborn.
In "Garden of Heaven," my novel about the spiritual journey of protagonist David Ward, the alchemical dictum that "By fire is nature renewed whole" (Igne Natura Renovatur Integra)is one of my primary themes. Whether one is creating himself or creating a work of art (or doing both simultaneously) putting out the fire of passion and renewal stops everything.
It is difficult for me to find any separation between an alchemist and the material on which s/he works; likewise, I see little separation between a writer and what s/he writes. Dream and dreamer are one, so to speak. Neither is fulfilled or renewed unless the passions involved are allowed to naturally burn themselves out.
One doesn't even have to be an arrogant know-it-all to innocently extinguish the fire of creation within a fellow writer by innocently saying, "I really think your protagonist needs to be a man instead of a woman" or "No realistic person would react to the stress of a death in the family the way your main character reacts."
The objective truth or falsity of such statements is irrelevant within the context of a creation (writer + work) underway. In fact, the statements aren't (or don't belong) within the same sacred space as the act of creation. They don't compute.
Even a well-made soufflé will fall if it's disturbed while it's cooking in the oven. Likewise, a novel, story or poem. Staying with my alchemical theme here, you may have heard it said that the philosopher's stone is made in hell. Or, in one kind of fiery oven or another. That's how all that doesn't belong is burnt away.
In the world of a critique group, those who know how therapy works might actually be able to facilitate the process. Personally, I don't trust this to happen, so I never show my work to anyone until I consider it done (except for the editing process). This is my idiosyncratic view of going to others for help in creating something: you've heard the expression "too many cooks spoil the broth."
That's the danger, I think, of offering up one's work in progress for discussion too soon--that is, before it's complete.
--Malcolm
You may also like The Muse Speaks: Sacred Space (a writing exercise)
9 comments:
Nice points here, Malcolm. I too believe the creation process is like a souffle and should not be opened up too soon for others just to get a taste.
Like you, I keep it close to the vest until I'm satisfied with it. Only then can I really hear the voice of others speak to it and know whether to consider changes or hold my ground.
A great post Malcolm. Different people have different tastes and what I would call "safety zones".One person might think your work too daring, another might think it too safe. With too many external opinions your "painting" could end up being a nice piece of work BUT painted only in muted shades of gray. Your colours/words belong to you...they have to be allowed to sing and dance; your characters have to be allowed the freedom to breathe and run. I think its the only way to keep them real.
(gads, struggling today, hope this made sense)
Thank you, MaAnna and Susanne. Hemingway made the point more succinctly saying writers must be careful not to talk their stories away. Pretty soon, the talking itself begins to blur the edges of the story.
My zone of safety about such talk varies depending on the work. If the work isn't my "deepest" kind of writing, my safety zone is wider. That is, I can talk about a grant application in process without ruining it much easier than I can talk about a novel.
--Malcolm
I talk little about my writing as I'm writing it for these reasons--I'm afraid it will collapse if it's too exposed too early. Excellent points in this post!
I know all writers don't feel this way, but I, too, am quiet until the story is done.
Malcolm
Interesting view. I have shown my writing to others before it is all completely written when I am conflicted about where I am going - I don't want to wander too far down the wrong path if someone helpful can give me proper directions. But the key word is HELPFUL. I don't do criticism well. I get very defensive. So sometimes having someone else provide input before I am all in and attached is better than hearing thoughts once it is all done. But generally, I too wait until it is all complete to share. Otherwise it could be misconstrued and my great ideas fall on flat ears.
Sometimes one gets comments that are not only helpful, but that have a fair amount of insight into what the intent behind the excerpt is.
Malcolm
I've come to agree with you, Malcolm, in my senior writing years. I've put a lot of time into both paid workshops and peer critique groups (which can be particularly dangerous), and reached the point a couple years ago when I decided I'm done. I like your comparison to a therapy group (which I also have quite a bit of experience with); despite proclamations to the contrary, any writing group has certain therapy-like aspects, and the best of both kinds of groups benefit from clear agreements about goals and boundaries and communication styles.
But I do feel that for beginning writers, a well-run group can be extemely helpful with matters of craft and objectivity. I'll always be grateful for the Writers Studio in Manhattan. Without it, I'd be much further behind than I am today.
Brent, perhaps all writing groups should have sock puppets. Some years ago, I was in a really nice critique group, so I had a good experience there. Another one was a bit more trendy, part of a recreation center, and though it had a hard-working leader, those who were published were the darlings and those who weren't were pond scum.
Glad you had a good experience as well.
Malcolm
Post a Comment