Zadie Smith. Writing Tips.

In 2010, The Guardian made a series asking for writing tips. Here are Zadie Smith’s:

  1. When still a child, make sure you read a lot of books. Spend more time doing this than anything else.

  2. When an adult, try to read your own work as a stranger would read it, or even better, as an enemy would.

  3. Don’t romanticize your “vocation”. You can either write good sentences or you can’t. There is no “writer’s lifestyle”. All that matters is what you leave on the page.

  4. Avoid your weaknesses. But do this without telling yourself that the things you can’t do aren’t worth doing. Don’t mask self-doubt with contempt.

  5. Leave a decent space of time between writing something and editing it.

  6. Avoid cliques, gangs, groups. The presence of a crowd won’t make your writing any better than it is.

  7. Work on a computer that is disconnected from the ­internet.

  8. Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.

  9. Don’t confuse honours with achievement.

  10. Tell the truth through whichever veil comes to hand – but tell it. Resign yourself to the lifelong sadness that comes from never ­being satisfied.

Zadie Smith and Jeffrey Eugenides (New Yorker bios) sat down in then October 2016 New Yorker Festival discuss writing habits. The two agreed that eight hundred words made for a good day (though Zadie as a child could write more). Eugenides spends six to eight hours at his desk in a sitting, while Smith believes that her work goes bad after four.  More in the conversation below.

 

More writing tips on style here (writing style tips ); from Philip Pullman.here.

She has said: "It might not always feel meditative, but when the book is very good you'll notice it is because time passes in a strange way in a book you love… four hours you didn't even notice, you haven't even moved from the sofa. To me that's kind of the ideal writing mind."

(as an aside, to my mind she is describing what positive psychology calls Flow studied by Mihály Csíkszentmihályi)

She doesn’t glamourise being a writer, but she has written some good perspective as well:  “Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra—they’ll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I’m too sentimental, to bring verbal ease when I’m syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style.

I think you follow your contemporaries from afar.  At least, I do.

She was at my university, we only overlapped a year. We never met, just crossed paths in passing. I was a science specialist with a theatre and writing interest; she was in the Arts.  She did edit the May Anthologies (as did Nick Laird), which I did a few years after along with a friend. (I also in a different year had a poem published in them, as did Laird)

I knew her work. I knew she was with Nick Laird who qualified into law and was a practising solicitor for several years while also a poet before moving into full time writing.

Working in the city and writing I could connect with.  

Her voice reminds me of my West London.  

While she is not my yellow brown banana colour, she’s not the causcasian pink white of the UK’s last 20 or 30 prime ministers and kings and queens

So she looks like me in that she bears no resemblence to our ruling elite - difference plus difference equals something similar?  But, she is who she is - the multi-cultural poster child thing plastered on to her, probably unfairly.

I mention Nick Laird, as I gather they were friends a long time before marrying, and friendship presumably came before love.  They also edit each other’s work.

Anoushka somewhat edits mine of late, and she does see an early draft before almost anyone else. I’d give it to someone like my playwright mentor friend, Jane Bodie, but am too embarrassed about the state of an early draft.  

“Do you want to make a fool of yourself in front of me, or in front of x amount of people?” (Smith/Laird)

I recall reading she was cautious about having children (who would bring children into this world…) and then learning she had a child (then another) about the same time as me.

Most is written about her novels. But, I love her essays. I trace Susan Sonntag, John Berger, David Foster Wallace all in her essay writing.

Her sentences are great in either form, but her angle of opinion always seems to provoke a thought in me from her non-fiction.  The conversations you can see of her on youtube are erudite and thoughtful. Maybe one day I’ll bump into her in NW6/10 or NYC.

Read more tips here - top writing style tips - some thoughts from Ursula K Le Guin - Philip Pullman.

Lastly, another in conversation with youtube of her chat at nypl.org around 2013
 

Linkedin poem

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My funny little Linkedin poem in honour of UK National Poetry Day. It riffs on this fad of some posters in an effort to gain more views have taken on this elongated form of post particularly suited to a mobile phone.

Better is Rishi Dastidar's (I love I can tell it's written in Notes on a phone)

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The 4 books of poetry I’ve last read are Rishi Dastidar (Ticker Tape) JH Prynne, Rebecca Bird (through Rishi), and CD Wright (One with Others).  If you fancy it, check them out.

JH Prynne to my lay mind is one of the most important British poets of the last 50 years. The CD Wright book One With Others is extraordinary (I will try a post on it some time, I can't even think to describe it in a few words). There’s a large part of me which is sad we read so few poets. That’s the way of the world, I guess.

More on Prynne here (I sat next to him and his orange tie once).  Rishi's book here. Rebecca Bird's site here.  

One With Others: "Investigative journalism is the poet's realm when C.D. Wright returns to her native Arkansas and examines an explosive incident from the Civil Rights movement. Wright interweaves oral histories, hymns, lists, newspaper accounts, and personal memories—especially those of her incandescent mentor, Mrs. Vititow—with the voices of witnesses, neighbors, police, activists, and black students who were rounded up and detained in an empty public swimming pool. This history leaps howling off the page."  New Yorker article here.

I owe a post of Thanks to Forrest Gander (who like Gideon Lester was very influential to me), so there's another post in the back log.

Tate Exchange

Quick visit to the Tate Exchange space. A wonderful space.

"Tate Exchange is an experiment. A space for everyone to collaborate, test ideas and discover new perspectives on life, through art. Whether you are an observer, commentator, researcher, creator, hacker, tweeter or just curious, join artists and organisations to explore the issues of our time. Drop in for a talk, join the conversation, enjoy a chance encounter and learn something new." says Tate. Blurb here.

Currently, it's a great space to think, to be, to exchange, to write, even to play and have a secret dance... (see above) - it is particularly great for freelancers at the moment as

Thick/er Black Lines are "hosting a dedicated co-working space in the Tate Exchange space for the duration of the project, with dedicated desks, outlets and refreshments for freelancers who want to work."

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 "Thick/er Black Lines presents We Apologise For The Delay To Your Journey – a map identifying and connecting Black British women/femme artists and cultural workers. Emerging from conversations with Black Women Artists for Black Lives Matter - a collective of Black women, queer, and gender non-conforming artists working in solidarity with the movement for Black lives - that took place amidst the Tate Exchange project Psychic Friends Network with Simone Leigh, the map is a catalyst to make visible past and present networks and practices. Using Lubaina Himid's artwork Moments and Connections as a reference, the map is supported by exchanges in print and conversation that critically question the history of artistic production by Black British women and its present condition.

Cross fertilise. Read about the autistic mind here. On investing try a thought on stock valuations.  Or Ray Dalio on populism and risk.

If you'd like to feel inspired by other addresses and life lessons try: Ursula K Le Guin on literature as an operating manual for life;  Neil Gaiman on making wonderful, fabulous, brilliant mistakes; or Nassim Taleb's commencement address; or JK Rowling on the benefits of failure.  Or Charlie Munger on always inverting.