If you follow this blog, you may know that I’m publishing a creative writing textbook next year, titled A Writer’s Craft:Multi-Genre Creative Writing. The contract has been signed on both sides of the Atlantic, and this fall I’ve been working on revisions. Since I’ve taught with the notes that became this book for a few years, the manuscript has already been revised several times and is pretty clean. But the publisher wanted me to broaden the focus from my class to a more general audience, something I’d already been doing, so there were only a few places that still had to be changed and some exercises that had to be revised to work in other contexts. Since my publisher, Palgrave/MacMillan, is based in the UK, they also wanted me to try to address an international market.
These were all fairly straightforward revisions that a careful read-through and some tinkering with the language ought to address. I knew I also wanted to add a glossary and bibliography, and I had some introductory material for instructors and students and an appendix I wanted to include.
What I hadn’t anticipated was needing to follow my own advice on revision. I read through the book a chapter at a time, making my corrections and revisions, and everything was pretty much finished for that stage. Yet I had a nagging feeling that something wasn’t quite right with the chapter on Creative Nonfiction.
My advice for revision includes rethinking what you’ve done and being willing to make major changes if necessary. It also involves looking at your work in terms of balance. Are any of the parts less developed than the others and should they be equally developed.
When I went back over the chapter on Creative Nonfiction, I realized it was significantly shorter than the other chapters on genre. I knew the reason for this, of course. Initially, my course in creative writing had included only poetry and fiction. Eventually, I added nonfiction and then drama. For awhile, I still gave more emphasis to fiction and poetry, but in recent years I’ve found ways to manage teaching all four genres equally. This is reflected in my syllabus and in the number of days I devote to each chapter.
A couple of years ago when I started thinking of the notes as a textbook, I had added a fair amount to the chapter on drama because there are so many technical aspects to the form. But Creative Nonfiction didn’t seem to have as many issues to cover, especially since it is the first genre we get to and we rely heavily on material that has already been covered in previous lessons, so it felt like there was less to say.
I knew all these reasons why there were fewer pages, yet it still felt like I was giving Creative Nonfiction short shrift, and I knew that wasn’t the case when I covered it in class. So I went back to my notes, and went over the chapter again. Ultimately, I decided to spend more time on each of the types of Creative Nonfiction, adding more detail on memoir and personal essay and whole new passages about the lyric essay, true crime, travel writing, and flash nonfiction. In the process, I had to develop new content, research more about forms of nonfiction, and rethink the strategy of the chapter. This also helped me bring out more of the content that often comes up in class discussion.
It was more work than anticipated, but I wasn’t ever sorry that I needed to do it. It made the book stronger, and inspired me to write another short chapter on other genres that serves as a conclusion to the book. Now I just have the appendix to finish and the glossary and bibliography to format. I should make my Nov. 30 deadline, and it looks like I’ll even come in just under the 70,000 word limit that my editor and I agreed on for the revised manuscript. More on that soon! And if I don’t post a lot on this blog in the next couple of weeks (as I haven’t the past few weeks), you’ll know why!