Remembering Philip Roth last week, NPR’s Fresh Air broadcast archived interviews Terry Gross had done with the literary giant. I was especially gratified to hear the author of more than two dozen books including Portnoy’s Complaint, Goodbye Columbus, and Everyman, talking about his writing process as an act of discovery.
“I don’t know anything in the beginning, which makes it great fun to write . . . You begin every book as an amateur. . . . Gradually, by writing sentence after sentence, the book reveals itself to you. … Each and every sentence is a revelation.”
I couldn’t agree more. My experience is there’s nothing that compares to the joy of discovery. And I learn to write as I write. That meant it took 24 years to get Compromise With Sin into print, and I’m sure I tossed at least 100,000 words.
Roth’s comments reminded me of an aha moment that occurred to me as I was writing a scene. One objective was to show protagonist Louise Morrissey’s compassion, as she was not always an admirable character. The scene involved Louise’s caring response to the family of two brothers who accidentally drowned in Crescent Lake. In my first draft, the family was not known to the reader. Then I decided the tragedy struck Henryetta, Louise’s cook and housekeeper. For me, that hit home, as I already knew and loved Henryetta–and I hoped it would be meaningful for the reader. It’s moot, of course, because that scene didn’t survive a later revision. But it impressed upon me the importance of having readers invested in characters so that when something good or bad happens, the reader feels it emotionally.
Btw, this icky background color appeared and I can’t get rid of it.
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