Always working on something. Diagrammed a story for students. Wrote some teaching stuff, wrote on the novel. Was the subject of a student tweet. Got a box of books for the Texas Book Festival. And, for some damn reason—my racing mind jumped ahead and I began outlining the next book, and here I haven’t finished the one I’m working on….
 The Cowboy Dillo says "Howdy" to the Book. I have always been a big fan of outlines, and of the tools of outlining—my home is littered/covered with file cards and notebooks all filled with half-realized ideas—and so when Scapple became available for Windows a few weeks ago, I bought it. Scapple is a brilliant little program, and I think I’ll write more about it—and about its sister program, the wonderful word processor, Scrivener—at some point in the future. Here I just want to show something that I quite quickly threw together…. It’s a post-outline of Professed, showing the relationships of the characters. It doesn’t cover every relationship—for example, Travis knows Jennifer independently of Tom—but I think if I tried to connect every possible person every possible way, the chart would end up looking like a sea of angry tapeworms (which is exactly what the pre-outline chart for my current work-in-progress looks like). But I like I how it shows Nelda as the central character…. Anyway…this isn’t a work of art, but I think it’s interesting—I like looking at it. 
 In Week Three of the class, we began the reading presentations and talked a little about outlines. I want to discuss as many texts as possible in the class, so I came up with a reading list of 20 books. Each student will read two books off the list, and will give an oral presentation on one book, and a written report on the other. Their task is to teach the other students what these books show us about writing. The list: 14-Sep Shirley Jackson, We Have Always Lived in the Castle 14-Sep Sandra Cisneros, The House on Mango Street 21-Sep Sarah Bird, The Mommy Club 21-Sep Ernest J. Gaines, A Lesson Before Dying 28-Sep Hunter Thompson, Fear and Loathing in Las Vegas 28-Sep James Hynes, Kings of Infinite Space 12-Oct Patti Smith, Just Kids 12-Oct Mary Karr, Cherry 19-Oct Patricia McConnel, Sing Soft Sing Loud 19-Oct Tayari Jones, Silver Sparrow 26-Oct John Graves, Goodbye to a River 26-Oct Annie Dillard, A Pilgrim at Tinker Creek 02-Nov Susan Collins, The Hunger Games 02-Nov Joyce Carol Oates, Black Water 09-Nov Lowell Mick White, That Demon Life 09-Nov John Kennedy Toole, A Confederacy of Dunces 16-Nov Oscar Casares, Brownsville 16-Nov Tiffani Yanique, How to Escape from a Leper Colony 30-Nov Jim Harrison,Returning to Earth 30-Nov Percival Everett, Erasure It’s not a perfect list. If I’d had a few days to think it over, some different books might have made the cut. But as it is, I think it’s useful: I have a wide range of narrative types here—novels, novellas, composite novels, memoirs—horror, history, comedy, popular page-turners. We began with Sandra Cisneros and Shirley Jackson. Erika Liesman and Austin Meek gave very fine presentations—informative, insightful, and enthusiastic. *  Above, Erika discussing the way Sandra Cisneros uses dialogue in The House on Mango Street. Erika also used videos of Sandra talking about her writing process....  Above, Austin shows the creepy cover of We Have Always Lived in the Castle. Austin gave us the plot highlights from the book, and discussed the advantages of having a protagonist who is kind of...bad.... * This isn’t the first class I’ve taught where I have students write extended narratives. When I was working on the creative part of my dissertation, I was writing a composite novel composed of three interlocking novellas. And since I was writing novellas, I thought I should perhaps teach novellas, and so I structured the prose part of my multi-genre into to creative writing class to accommodate long stories/novellas. All the students got off to excellent starts, but then, after 15 or so pages, they stopped. They didn’t know what was supposed to happen next in their novella. The pages seemed to stretch out before them, endlessly, scarily. All of them recovered and completed their novellas, and some of them did truly fine, high-quality work, but there was a grim period there in the middle of the semester where the young writers were staring around glassy-eyed and stressed. It made me nervous—I’m sure it was worse for the students. It occurred to me that a good outline might have prevented this worrisome stall. So for my current class, I mandated that students produce an outline, and made it a graded assignment. They were due this week, and were interesting in their variety and conception. Some were very detailed, others more perfunctory—all of them, I think, will give the writers something to fall back on when they get stuck (and they will get stuck). At the same time, I tried to emphasize that outlines are not contracts—you don’t have to stick with them forever and ever. Indeed, as your extended narrative—your novel, novella, memoir—gets written, your conception of the project will change, and new ideas, relationships, and characters will emerge. The work-in-progress is necessarily plastic. I’m going to encourage the writers to keep their outlines plastic as well, and keep them updated as their narratives progress. Here’s Jacquelyn Asiala’s outline, done in sticky notes….  I'm looking forward to reading everything.
Next week: more reading presentations, and the first workshops.... |
Lowell Mick White
Author of the novels Burnt House and Professed and That Demon Life and the story collections Long Time Ago Good and The Messes We Make of Our Lives. Categories
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