That was un-necessary

I liked a couple of recent articles about the [lack of] merit in much modern writing.

The first, in the Fairfax Good Weekend magazine (get your digital subscription now, and be hip and fight the Murdoch hegemony, like me) is about a spate of 20-something "hyperconfessional" women writing autobiographies, sometimes making much money in the process.   The question is - should any 25 year old who has done nothing extraordinary really think they should be writing autobiography?   The obvious answer is "no":

Summerlandish reads like an engaging blog; the prose is restless and flecked with Gen-Y pop-culture references, as if Carrie Bradshaw wrote it after a night in with a bottle of Prosecco and The O.C. box set. She has the "cute girl with the dirty mouth" routine down pat. A certain audience will love it. But good or bad, the question remains: is Summerlandish necessary? Are any of these 20-something memoirs necessary? If acclaimed British singer Adele, 25, could turn down a seven-figure book deal because she felt she was too young to say much of anything, what do these Oscar-less, Grammy-less writers think they can offer the world?

The other article was in The Guardian, by a publisher who wishes people (be they successful authors or not) would just stop writing for a while:

According to Google, some 130m titles have been published since the first books took form on the desks of monks. This overwhelming catalogue is today being supplemented at a rate never before seen in the history of the book. Another industry statistician, Bowker, reports that nearly 1.8m new titles were published in 2012, an increase of half a million in just three years. As the constant thrum of laptop keyboards in coffee shops across the nation testifies, nearly everyone, it seems, wants to be an author. And, according to the New York Times, 81% of Americans feel they have a book in them. New technology plays its part here. So too, perhaps, does writing's attraction as a way of asserting one's existence in a world where the traditional terrain for being acknowledged by others – the workplace, family or neighbourhood – is increasingly under strain.

But if writers today are ubiquitous, readers seem an increasingly endangered species. A recent survey revealed that one in four Americans had read not a book in over a year. Again, technology is a significant factor in this (electronic Scrabble entered my life like a new drug a couple of years back). Bye-bye bedtime novels.

Paradoxically, the deluge of writing itself contributes to declining readership. It's not just that if you're writing then you can't be reading. It's also that the sheer volume of what is now available acts as a disincentive to settle down with a single text. The literary equivalent of channel surfing replaces the prolonged concentration required to tackle a book. Condensed capsules of digital communication are infecting all forms of reading. But books, the longest form that writing takes, are suffering disproportionately in the reduced attention spans of readers.

I sometimes have a creative story telling urge, usually while thinking idly in the shower.  But for as a long as I can remember, when I am thinking about story ideas, my mind rushes back to past books or movies I have liked a lot, and gets stuck in reverie about how good they were.  I don't seem to have anything resembling a truly creative gene, and it puzzles me how people develop the skill to come up with engaging, realistic characters in interesting plots. 

 

Some novelists do it via continual drawing on life experiences (either their own, or of others in their circle - I remember reading a biography of Evelyn Waugh and thinking that people he had met could more or less be assured of turning up, not necessarily favourable, in some fictionalised form in one of his books sooner or later.  And his contemporary Graham Greene had a ridiculously complicated personal life that provided lots of source material.)

 

Writers in the field of science fiction and fantasy perhaps have the harder task of coming up with characters who have to react to things which have never happened anywhere to anyone real, and I suppose that may mean that when they do characters well, they deserve special credit for their feat of imagination.  It's just a pity that fantasy generally leaves me cold, and science fiction is not all that well known for well detailed characters.

I would like to be able to do science fiction, if only because I find myself dissatisfied with nearly all of it these days.  But the skill set is not there, I'm sure.

And anyway, it probably is true - too much of everything is being written these days...