Nick Harkaway
ARGH! There's no such thing. Seriously: THERE. IS. NO. SUCH. THING. You know what there is? There's a bunch of problems, creative and otherwise, that can stop you writing. They are not block. They are important skills. For example: very often, around the middle of a book, I grind to a halt. I can go no further, everything I write is catastrophically stupid. I tend to get very upset about that, and I'm unmentionably annoying to be around for a few days. My wife generally has to remind me how to fix the problem.
The way you fix it is you go back to the beginning and you get rid of all the junk, broken stuff you put in back before you understood what the hell the book was actually about, the stuff that is now preventing you from doing the really amazing things that will make the book special. You have to re-envision the whole thing, understand what you meant but could not at the time express. Sometimes that means cutting heavily, sometimes it means changing great swathes, sometimes it's a question of reading that crucial passage that carries your book in potential and taping it up over your desk.
Calling that moment "writer's block" is slandering yourself. It's not a block, it's the process. Don't demonise it! Beg for it! It's what stops you from writing lousy prose, saggy plots, unsatisfying endings. LOVE YOUR CRITICAL FACULTY.
Alternatively: at any time in the course of a book, I may find I cannot write it, bash away at it, hate myself, and then realise it's because I haven't done my chores. I haven't paid the credit card bill or whatever.
Understand: your ability to write is bound up with who you are and with your moods. It is tied to whether you are happy, sad, tense, relaxed, blah. It is you. So when something is wrong with your inkflow, that means either that you've goofed creatively or that you're not fixing something broken elsewhere in your world.
Love your mutant power. Do not try to force it to do something. Learn to listen.
The way you fix it is you go back to the beginning and you get rid of all the junk, broken stuff you put in back before you understood what the hell the book was actually about, the stuff that is now preventing you from doing the really amazing things that will make the book special. You have to re-envision the whole thing, understand what you meant but could not at the time express. Sometimes that means cutting heavily, sometimes it means changing great swathes, sometimes it's a question of reading that crucial passage that carries your book in potential and taping it up over your desk.
Calling that moment "writer's block" is slandering yourself. It's not a block, it's the process. Don't demonise it! Beg for it! It's what stops you from writing lousy prose, saggy plots, unsatisfying endings. LOVE YOUR CRITICAL FACULTY.
Alternatively: at any time in the course of a book, I may find I cannot write it, bash away at it, hate myself, and then realise it's because I haven't done my chores. I haven't paid the credit card bill or whatever.
Understand: your ability to write is bound up with who you are and with your moods. It is tied to whether you are happy, sad, tense, relaxed, blah. It is you. So when something is wrong with your inkflow, that means either that you've goofed creatively or that you're not fixing something broken elsewhere in your world.
Love your mutant power. Do not try to force it to do something. Learn to listen.
More Answered Questions
Chris P.
asked
Nick Harkaway:
I'd love for you to expound on how you weave serious and often horrifying subject matter around big, pulpy genre tropes, but I am not sure how to put that into a proper question. Is there a specific process there? Do you ever find yourself steering too far in one direction, getting too silly or too morbid?
Michael L.
asked
Nick Harkaway:
I'm going along reading Angelmaker, loving the writing and sort of daydreaming all the while. Then Joe goes with Polly for the first time to her place and there's the bed with the attached train and their conversation leading to my eyes opening wide and my attention snagged so thoroughly. Did you know that would happen? I'm certain it wasn't just me!
Agnes Nutter
asked
Nick Harkaway:
You have a cadence to your writing that can make it slow going getting into your books (at least for American readers), but which I love once I get into the rhythm of it. Almost a cant for the written word. Is this deliberate, and if so, what inspirations do you draw on for capturing it?
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