1. Read Dorothy Parker and try not to blow your brains out. That’s because in the first Depression, a writer could actually check into a hotel, order up drinks and room service, bat out a story, pay an urchin to run it over to editor and return with a check, cash the check in the bar downstairs, and pay for her hotel room and a round of drinks.
Today, in the new depression, you must have a credit card or prepay in cash. Many baby boomers romanticise the thirties but it was hell on earth to be a writer at the time, and most writers of the time barely survived. F. Scott Fitzgerald was reduced to caricaturing himself in the “Pat Hobby Stories” about an aging screenwriter to support his wife in a mental institution and his daughter in school.
It might even be worse this time.
Don’t quit your day job.
2. Learn the basic structure of most English sentences. A Subject gets rowdy and does something to an Object. Then in run a series of zero one or more clauses like chicks behind hens, where the hens are prepositions. The prepositions must be spelled right but that’s easy.
3. Sometimes s**t happens to the Subject, most of the time on the morning after the night before when the Subject got rowdy. It is perfectly OK to use passive voice in this case, when the Subject can’t get out of the sack. In fact, some verbs have no active voice: it is impossible to be born in other than the passive voice: you can only express autogenesis using a reflexive pronoun, as in “why boys, I gave birth to myself!”. Other verbs, interestingly “to die”, have no passive voice: you are not died, you are killed and all of us must die, for in Adam’s fall, we sinned all.
4. Unless like me you were educated in Catholic schools prior to 1967, do not worry about “verbosity”; you probably strain instead to produce words. Trust me on this. “Verbosity”, properly understood, is a high x/y where x is word count and y is idea count: George Bush was verbose even though his y value was small since he had so few ideas.
5. Your writing, if it is any good, will offend somebody. First of all, it might get you in trouble at work, and we do not wish to quit our day job (see above). Worse, it may offend a family member, or get him in trouble at work. There is no surefire way of avoiding this except by writing for kids, and even there you have to stick to Flopsy Bunny.
You may offend an ex-spouse even if you change details, perhaps especially so. If possible, discuss this issue with him or her before setting pen to paper. But it may happen nonetheless, because even liberal, tolerant and enlightened people preserve reptilian and ape reflexes, and can become suspicious and censorious quite out of the blue, especially in the dysfunctional family systems which produce many (but by no means all) writers.
6. Your role model, not for writing, but for personal affairs, is not DH Lawrence but his friend, Aldous Huxley, who today is remembered only for his Brave New World, and not his readable-but-dated tales of late Empire personalities.
Lawrence messed up his life and blamed others. Huxley was stricken with blindness in his teens and heroically taught himself to see again. He then wrote Crome Yellow and Antic Hay based on the terribly gay (old sense) lives of the Bright Young Things of 1920s Britain and got paid handsomely. Always gracious, quite in fact an ideal stage Englishman, Huxley managed his life well and had the good fortune to be legally stoned when he died, on the same day as CS Lewis, another decent old fellow, and JFK.
6. Read Edward Said’s Orientalism, especially if you’re an unfashionable race and gender such as “old white guy”. If you write about the Other from outside the Other, you will anger the Other.
Shakespeare was natively able to see this. Captain MacMorris is an Irishman in Henry V but he’s no “stage Irishman”. When Captain Fluellen, another Other with respect to the “metropolis” of Shakespeare’s time, teases MacMorris about his “nation”, MacMorris replies, sure enough, in an “orientalizing” brogue. But this is overridden by the justice of what MacMorris says:
Of my Nation? What ish my Nation? Ish a
Villaine, and a Basterd, and a Knaue, and a Rascall. What
ish my Nation? Who talkes of my Nation?
In other words, don’t even “name” me if you’re just taking the piss: you have no right. Shakespeare instinctively avoided a sort of “orientalism” simply because he was so eager to give each character something to say.
Instead of making a “stage Irishman” out of MacMorris, Shakespeare tasks Fluellen to do so, increasing the fun and making it less vicious, because Shakespeare’s Fluellen is the first to appear, clearly speaking “English as a second language” and full of good qualities (he’s one of the two characters that are praised by the King himself: Erpingham is the other).
Which brings me to “writing about women”.
There is a sort of feminist white terror operant in contemporary letters, but it is important to be precise about it.
Any “enlightenment”, when normed to a set of easily enforceable and bureaucratic rules, can become, not just idiotic, but, as Adorno (yeah, Adorno) saw, not at some low level, but as the nightmare, dialectical inverse.
Thus in bureaucracies and in grammar checkers, “sexism” is determined as if English and other natural languages were “Chomsky type 3“, that is chains of words that can be fully understood by a machine with no memory, only a “state of mind”. An example would be a grocery list.
If “detergent” appears at all on a grocery list, we can infer, without reading more, that we must buy detergent unless just before that word we see “automobile”, meaning some sort of detergent for washing the car.
We can be sure, given that the “genre” of laundry list disallows irony or parenthetical digressions, or even negative instructions such as “don’t you DARE, oh don’t you DARE, buy detergent, you swine”, that “detergent” will mean “buy detergent”.
But, of course, general texts are Chomsky Type Zero. You need a “general purpose computing machine”, a Turing machine, or a human being, or a very bright four year old to explain to you what the text means.
“Why a four year old could do this! Get me a four year old!” – Groucho Marx
Of course, male writers continue to write about women, it being hard not to do so. They have ceased writing “I Tamed the Pirate Queen of Hong Kong”, and are well advised to write about what they feel about how women affect them. They make many errors in so doing and need to discuss their writing with the women in their lives, which I did in 2000 when I published “It Takes a Train to Cry”.
Nonetheless, their writing will be, if it’s any good, misinterpreted, and may well cause the women in their lives to exit stage left. What did I say in (1)? Blow your brains out now.
7. Money? What the devil, you say? What did I say above: don’t quit your day job.
8. A final “coda”.
In what my fat pal Adorno called an “administered” world, “administration” is labor and governed by economic scarcity, therefore we not only use scanners on computers to scan for nasty bits, we begin over time to fail to listen to each other, or read literature, with the attentiveness of a Jane Austen, that famous gal who figured out that the apparently odious Mr. Darcy was a good egg after all.
Adorno and his friend Walter Benjamin specialized in the regression of listening, and in Benjamin’s especial case art and film appreciation, as a consequence of technology. Here, in white-terror feminism and other administrative attempts to control writing, it’s a failure of reading, and listening to words.
Note that I don’t confuse “white terror feminism” with the genuine article. Do you? White terror feminism in fact worked hand in glove with a series of Republican administrations to destroy males. For an example, see the ravings of Robin Morgan. Don’t be fooled by the fact that she’s now taking on the religious right. Her book “The Demon Lover” caricatured revolutionaries and she’s inspired generations of zero-sum feminists who have confused liberation with sadism.
The result is a regression to a class-based partition of language and sumptuary language laws. Domination, being delegated in Adorno to the dominated and being a scarce “good”, is broad-brush at the bottom and the defense at the bottom is your friendly local public defender, hauled out of the corner bar to defend your life. You are in an administered world well advised to not use irony or nuance, but irony and nuance are the writer’s tools, aren’t they.
Welcome, not to the “real world” of the popular meme, that in itself idealized reality which we must perforce adapt to in all its sordid glory, but instead to the realer really real world of History.
That is, as in Bill and Ted’s Excellent Adventure, that 1991 movie I took my kid to in which Bill and Ted are taken by George Carlin to visit History in a time machine to avoid failing their history classes “most egregiously”, our “real world” can contain sudden shifts back to the world of our parents or grandparents.
A contemporary example would be the new depression in consequence of the credit crisis. For my homey Adorno, it was the sudden transition from the liberal, tolerant, modern and even stone hip world of Weimar to Hitler, something completely unexpected because Hitler never even won an election fair and square.
Throughout history, real writers have been persecuted, hounded, tormented and bullyragged and in most of the “real” world today, this continues, as in mainland China. Nor is it the case that they are free of this in developed, democratic societies: while an abstract freedom of speech is guaranteed, the real, embedded writer of course works under all sorts of constraints, including domination by the dominated.
I do not know what it means to be able “to write” above and beyond Winston Churchill’s understanding: while he flunked Harrow school most egregiously, he later had spare time in India and learned how to recognize and write an English sentence, and assemble these into larger and larger structures until he arrived a “Marlborough”, his biography of his famous ancestor, and “A History of the English Speaking Peoples”.
Or, as recent translations of Adorno by Edmund Jephcott show, Adorno, who it turns out (and taking into account my very limited facility with German, a language I do not read except for forbidding notices on German railway cars) was an excellent prose stylist.
Many self-appointed teachers of writing, holding seminars for the desparate and doomed at Borders on writing, couldn’t tellya what a gerund is, not in the sense of using that particular word accurately (I call it an ing-word in my classes) but in the sense of a comprehensible explanation of how it works and what difference does it make; de Saussure (and Turing) were right: it’s impossible for computationally theoretic reasons to construct an adequate metalanguage and the best way to view language is to ask “what difference does it make?”
Instead, most self-appointed teachers of writing specialise in blaming, if not thrashing, the victim: the author of Harry Potter or “Don’t Make Me Think” must perforce know how to write based on sales figures.
But a successful text cannot be so reverse engineered. The Weltgeist plays a role. Margaret Mitchell’s Gone With the Wind was successful precisely because Southerners in the United States were just beginning to understand that they were being looked at as peculiar. Harry Potter could never have been successful in Huxley’s Britain since it is explained by feminist mothers in some measure.
Anyway, these are my guidelines for new writers. Blow your brains out, or, get to work.