Bird by Bird (10 page)

The Moral Point of View

If you find that you start a number of stories or pieces that you don't ever bother finishing, that you lose interest or faith in them along the way, it may be that there is nothing at their center about which you care passionately. You need to put yourself at their center, you and what you believe to be true or right. The core, ethical concepts in which you most passionately believe are the language in which you are writing.

These concepts probably feel like givens, like things no one ever had to make up, that have been true through all cultures and for all time. Telling these truths is your job. You have nothing else to tell us. But needless to say, you can't tell them in a sentence or a paragraph; the truth doesn't come out in bumper stickers. There may be a flickering moment of insight in a one-liner, in a sound bite, but everyday meat-and-potato truth is beyond our ability to capture in a few words. Your whole piece is the truth, not just one shining epigrammatic moment in it. There will need to be some kind of unfolding in order to contain it, and there will need to be layers. We are dealing with the ineffable here—we're out there somewhere between the known and the unknown, trying to reel in both for a closer look. This is why it may take a whole book.

I'm not suggesting that you want to be an author who tells a story in order to teach a moral or deliver a message. If you have a message, as Samuel Goldwyn said, send a telegram. But we feel morally certain of some things, sure that we're right, even while we know how often we've been wrong, and we need to communicate these things. For instance, I used to think that paired opposites were a given, that love was the opposite of hate, right the opposite of wrong. But now I think we sometimes buy into these concepts because it is so much easier to embrace absolutes than to suffer reality. I don't think anything is the opposite of love. Reality is unforgivingly complex.

When you start off writing, if you are anything like me, you may want to fill the page with witticisms and shimmering insights so that the world will see how uniquely smart and sensitive you are. Over the course of time, as you get the knack of doing some writing every day, what seems to happen almost organically is that you end up wanting your characters to act out the drama of humankind. Much of this drama does not involve witticisms and shimmer. Yet this drama is best couched in moral terms; the purpose of most great writing seems to be to reveal in an ethical light who we are. My favorite moment in Jeanne Moreau's latest movie—a comedy called The Summer House—takes place in a kitchen, when she proclaims that every human has something to cry about. When mocked by the owner of the kitchen and pressed to say what it is that we have to cry about, she tosses back her head of flaming red hair and says, "The winds of solitude roaring at the edge of infinity." How do we, as individuals and communities, behave with that wind blowing behind us? Are we well behaved, striving for dignity and compassion, or is it every man for himself?

As we live, we begin to discover what helps in life and what hurts, and our characters act this out dramatically. This is moral material. The word moral has such bad associations: with fundamentalism, stiff-necked preachers, priggishness. We have to get past that. If your deepest beliefs drive your writing, they will not only keep your work from being contrived but will help you discover what drives your characters. You may find some really good people beneath the packaging and posing—people whom we, your readers, will like, whose company we will rejoice in. We like certain characters because they are good or decent—they internalize some decency in the world that makes them able to take a risk or make a sacrifice for someone else. They let us see that there is in fact some sort of moral compass still at work here, and that we, too, could travel by this compass if we so choose.

In good fiction, we have one eye on the hero or the good guys and a fascinated eye on the bad guys, who may be a lot more interesting. The plot leads all of these people (and us) into dark woods where we find, against all odds, a woman or a man with the compass, and it still points true north. That's the miracle, and it's astonishing. This shaft of light, sometimes only a glimmer, both defines and thwarts the darkness.

Think of a medieval morality play as the model. We love to hear that goodness will triumph over evil, that the fragile prize—humanity, life—will be saved. In formula fiction, evil wins out until the very end, and then against all odds goodness prevails and the hero gets to kiss the girl with the big bosoms. Life is somewhat more complicated than it was in the Middle Ages, but in many ways it is so much the same—violent, terrifying, full of chaos and plague, murderers and thieves. So the acknowledgment that in the midst of ourselves there is still a good part that hasn't been corrupted and destroyed, that we can tap into and reclaim, is most reassuring. When a more or less ordinary character, someone who is both kind and self-serving, somehow finds that place within where he or she is still capable of courage and goodness, we get to see something true that we long for. This is what helps us connect with your characters and with your book. This is what makes it a book we will foist on our friends, a book we will remember, that will accompany us through life.

But you have to believe in your position, or nothing will be driving your work. If you don't believe in what you are saying, there is no point in your saying it. You might as well call it a day and go bowling. However, if you do care deeply about something—if, for instance, you are conservative in the great sense of the word, if you are someone who is trying to conserve the landscape and the natural world—then this belief will keep you going as you struggle to get your work done.

To be a good writer, you not only have to write a great deal but you have to care. You do not have to have a complicated moral philosophy. But a writer always tries, I think, to be a part of the solution, to understand a little about life and to pass this on. Even someone as grim and unsentimental as Samuel Beckett, with his lunatics in garbage cans or up to their necks in sand, whose lives consist of pawing through the contents of their purses, stopping to marvel at each item, gives us great insight into what is true, into what helps. He gets it right—that we're born astride the grave and that this planet can feel as cold and uninhabitable as the moon—and he knows how to make it funny. He smiles an oblique and private smile at us, the most delicious smile of all, and this changes how we look at life. A few small things seem suddenly clear, things to which we can cling, and this makes us feel like part of the solution. (But perhaps we have the same problem with the word solution as we do with the word moral. It sounds so fixative, and maybe we have gone beyond fixing. Maybe all we can do is to make our remaining time here full of gentleness and good humor.)

Or look at the fourteenth Dalai Lama, who is, for my money, the sanest person currently on earth. He says simply, "My true religion is kindness." That is a great moral position—practicing kindness, keeping one's heart open in the presence of suffering. Unfortunately it does not make great literature. You will need to embroider it a little. Otherwise you will have a one-sentence book, and potential agents will look at you as if—as the Texans say—you are perhaps not the brightest porch light on the block.

So a moral position is not a message. A moral position is a passionate caring inside you. We are all in danger now and have a new everything to face, and there is no point gathering an audience and demanding its attention unless you have something to say that is important and constructive. My friend Carpenter says we no longer need Chicken Little to tell us the sky is falling, because it already has. The issue now is how to take care of one another. Some of us are interested in any light you might be able to shed on this, and we will pay a great deal extra if you can make us laugh about it. For some of us, good books and beautiful writing are the ultimate solace, even more comforting than exquisite food. So write about the things that are most important to you. Love and death and sex and survival are important to most of us. Some of us are also interested in God and ecology.

Maybe what you care most passionately about are fasting and high colonics—cappuccino enemas, say. This is fine, but we do not want you to write about them; we will secretly believe that you are simply spiritualizing your hysteria. There are millions of people already doing this at churches and New Age festivals across the land.

Write instead about freedom, freedoms worth fighting for. Human rights begin with and extend to your characters, no matter how horrible they are. You have to respect the qualities that make them who they are. A moral position is not a slogan, or wishful thinking. It doesn't come from outside or above. It begins inside the heart of a character and grows from there. Tell the truth and write about freedom and fight for it, however you can, and you will be richly rewarded. As Molly Ivins put it, freedom fighters don't always win, but they are always right.

Broccoli

There's an old Mel Brooks routine, on the flip side of the "2,000-Year-Old Man," where the psychiatrist tells his patient, "Listen to your broccoli, and your broccoli will tell you how to eat it." And when I first tell my students this, they look at me as if things have clearly begun to deteriorate. But it is as important a concept in writing as it is in real life.

It means, of course, that when you don't know what to do, when you don't know whether your character would do this or that, you get quiet and try to hear that still small voice inside. It will tell you what to do. The problem is that so many of us lost access to our broccoli when we were children. When we listened to our intuition when we were small and then told the grown-ups what we believed to be true, we were often either corrected, ridiculed, or punished. God forbid you should have your own opinions or perceptions—better to have head lice. If you asked innocently, "Why is Mom in the bathroom crying?," you might be told, "Mom isn't crying; Mom has allergies." Or if you said, "Why didn't Dad come home last night?," you might be told brightly, "Dad did come home last night, but then he left again very early." And you nodded, even though you knew that these were lies, because it was important to stay on the adults' good side. There was no one else to take care of you, and if you questioned them too adamantly, you'd probably get sent to your room without dinner, or they'd drive a stake through your ankles and leave you on the hillside above the Mobil station. So you may have gotten into the habit of doubting the voice that was telling you quite clearly what was really going on. It is essential that you get it back.

You need your broccoli in order to write well. Otherwise you're going to sit down in the morning and have only your rational mind to guide you. Then, if you're having a bad day, you're going to crash and burn within half an hour. You'll give up, and maybe even get up, which is worse because a lot of us know that if we just sit there long enough, in whatever shape, we may end up being surprised. Let's say it's only 9:15; now, if you were to stick it out, the image or situation might come to you that would wedge the door open for a character, after which you would only have to get out of the way. Because then the character could come forward and speak and might say something important; it might even be the thing that is most important to him or her, and your plot might suddenly fall into place. You might see how to take that person from good to bad and then back, or whatever. But instead you quit for the day, and you feel defeated and shaken and hopeless, and tomorrow is going to be even harder to face because today you've given up only fifteen minutes after you sat down to work. Remember the scene in Cat Ballou where a very drunk Lee Marvin goes from unconscious to ranting to triumphant to roaring to weeping defeat, and then finally passes out? One of the men watching him says, with real awe, "I never seen a man get through a day so fast." Don't let this be you.

You get your confidence and intuition back by trusting yourself, by being militantly on your own side. You need to trust yourself, especially on a first draft, where amid the anxiety and self-doubt, there should be a real sense of your imagination and your memories walking and woolgathering, tramping the hills, romping all over the place. Trust them. Don't look at your feet to see if you are doing it right. Just dance.

You get your intuition back when you make space for it, when you stop the chattering of the rational mind. The rational mind doesn't nourish you. You assume that it gives you the truth, because the rational mind is the golden calf that this culture worships, but this is not true. Rationality squeezes out much that is rich and juicy and fascinating.

Sometimes intuition needs coaxing, because intuition is a little shy. But if you try not to crowd it, intuition often wafts up from the soul or subconscious, and then becomes a tiny fitful little flame. It will be blown out by too much compulsion and manic attention, but will burn quietly when watched with gentle concentration.

So try to calm down, get quiet, breathe, and listen. Squint at the screen in your head, and if you look, you will see what you are searching for, the details of the story, its direction— maybe not right this minute, but eventually. If you stop trying to control your mind so much, you'll have intuitive hunches about what this or that character is all about. It is hard to stop controlling, but you can do it. If your character suddenly pulls a half-eaten carrot out of her pocket, let her. Later you can ask yourself if this rings true. Train yourself to hear that small inner voice. Most people's intuitions are drowned out by folk sayings. We have a moment of real feeling or insight, and then we come up with a folk saying that captures the insight in a kind of wash. The intuition may be real and ripe, fresh with possibilities, but the folk saying is guaranteed to be a cliché, stale and self-contained.

Take the attitude that what you are thinking and feeling is valuable stuff, and then be naive enough to get it all down on paper. But be careful: if your intuition says that your story sucks, make sure it really is your intuition and not your mother. "I see this character in a purple sharkskin suit," you suddenly think, and then the voice of the worried mother says, "No, no, put him in something respectable." But if you listen to the worried mother, pretty soon you'll be asleep and so will your reader. Your intuition will make it a much wilder and more natural ride; it may show you what would really jump out from behind those trees over there. You won't always get a clear, panting, "Aha! Purple sharkskin suit!" More often you will hear a subterranean murmur. It may sound like one of the many separate voices that make up the sounds of a creek. Or it may come in code, oblique and sneaky, creeping in from around the corner. If you shine too much light on it, it may draw back and fade away.

I think a major step in learning to rely on your intuition is to find a usable metaphor for it. Broccoli is so ridiculous that it works for me. A friend says that his intuition is his animal: "My animal thinks this," he says, or "My animal hates that." But whatever you come up with needs to suggest a voice that you are not trying to control. If you're lost in the forest, let the horse find the way home. You have to stop directing, because you will only get in the way.

Writing is about hypnotizing yourself into believing in yourself, getting some work done, then unhypnotizing yourself and going over the material coldly. There will be many mistakes, many things to take out and others that need to be added. You just aren't always going to make the right decision. My friend Terry says that when you need to make a decision, in your work or otherwise, and you don't know what to do, just do one thing or the other, because the worst that can happen is that you will have made a terrible mistake. So let the plot go left in this one place instead of right, or let your character decide to go back to her loathsome passive-aggressive husband. Maybe it was the right thing, maybe not. If not, go back and try something else. Some of us tend to think that what we do and say and decide and write are cosmically important things. But they're not. If you don't know which way to go, keep it simple. Listen to your broccoli. Maybe it will know what to do. Then, if you've worked in good faith for a couple of hours but cannot hear it today, have some lunch.