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“All writing is rewriting,” runs the annoying adage. Annoying because all adages, in their hectoring certainty, feel like sharp pokes in the ear. And annoying squared because, as anyone who’s ever had to write anything knows, one’s first version (however hard to get down) is so invariably inadequate as to typically require wholesale redress. Lucky the knitter (I say in almost total ignorance of knitting) who can work a sweater to completion without (I’m guessing) having to unravel a first version of it back into the ball of yarn it once was, to call it done.
In the atlas-sized series of photo-facsimiles of Finnegans Wake compiled by Garland in the 1970s, we get a ringside seat on Joyce’s accretive method. First drafts of sections are short. Subsequent drafts expand. All the matter from the early drafts remains, like bones. Muscle and fat get interposed, overlaid. The whole fattens (in the sense of “enriched”).
This is unusual; thinning seems the rule. Novels tend to be larger than they need to be. Writers and their editors strive to do more with less. Infinite Jest was longer, A Death in the Family was longer. Tobias Wolff has said something to the effect that his novel Old School took so long to write because he was trying to make it shorter. And sometimes length isn’t the issue. Two novelists I know have had the same experience with revision. Both wrote novels narrated in the third person. Both gave the books to their first readers. Both first readers said: terrific, but shouldn’t this be in the first person? Both writers were appalled, but agreed. Both revised.
How the novelist must envy the musician. In music, one gets to call drafts “takes.” One can change tack dramatically on a song in a matter of minutes. I got my hands on a 2005 session of Bob Dylan’s for a song called “Tell Ol’ Bill.” In its release version on the current Tell Tale Signs, the song has a groove so deep it feels graven. But on the first five takes of the song on the sessions disc, while it’s a groovy little number, it isn’t… alive.
Then, on the sixth take, at the beginning, Dylan, not liking what they’ve done with the song, says: “Maybe we should just change it all, totally: change the melody, change everything about it, put it in a minor key–I mean everything. Let’s see what happens if we keep the same form, though.” He starts singing. And there it is: suddenly there’s the version that got released. Same lyrics, same form, but so different as to be unrecognizable.
It’s impractical to ask the same of a novelist who’s worked for months to years on a slow groove of a book. Sometimes though, to keep a form one wants, everything else has to go.
More from Wyatt Mason:
Conversation — October 2, 2015, 8:26 am
“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”
Years ago, I lived in Montana, a land of purple sunsets, clear streams, and snowflakes the size of silver dollars drifting through the cold air. There were no speed limits and you could legally drive drunk. My small apartment in Missoula had little privacy. In order to write, I rented an off-season fishing cabin on Rock Creek, a one-room place with a bed and a bureau. I lacked the budget for a desk. My idea was to remove a sliding door from a closet in my apartment and place it over a couple of hastily cobbled-together sawhorses.
Amount of U.S. military aid given to the government of El Salvador each minute during the 1980s:
A team of European sexologists reported that 40 percent of Italian couples were not having sex, due in part to Italian men’s declining sex drive and growing predilection for prostitutes and cybersex.
Telecommunications company AT&T agreed to buy Time Warner for $85.4 billion in a bid to find new ways to reach consumers, and hackers took control of Internet-connected cameras and baby monitors to overwhelm the routing company Dyn with traffic, causing worldwide disruption to outlets such as Netflix and Amazon.
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"She never thanked me, never looked at me—melted away into the miserable night, in the strangest manner I ever saw. I have seen many strange things, but not one that has left a deeper impression on my memory than the dull impassive way in which that worn-out heap of misery took that piece of money, and was lost."