To continue along the same vein as yesterday’s blog about writing economically, there are times when fiction writers say too much about a subject. It’s actually easier to write a longer piece than a short one. Mark Twain once apologized for the length of a letter he’d written, saying, “If I’d had the time I would have written it shorter.”
The keys to writing a novella are:
– What to include
– What to exclude
– What really constitutes the story
About three years after my book The Fisherman’s Wife came out, another book with the same title appeared. It was written by a Catholic nun. In her first chapter she describes her main character as being the mother of the Messiah, in heaven, sitting on a throne of gold which was decorated with jewels. This kind of worldly wealth is common in Catholic depictions of heaven – at least according to my husband, who was raised in the Catholic church – and it is certainly the author’s prerogative to incorporate such imagery. However, from my viewpoint such worldly wealth is meaningless to God, and in this particular example the author’s use of this imagery added bulk to her book without adding readability or impact. In the process, her version of the story grew to over 260 pages.
Since my novellas are based on both Judaism and Christianity and the characters are initially placed in Jewish communities, I have a different take on their frames of mind. Research reveals that most first-century Jews didn’t believe in an afterlife. It also reveals that Jewish girls growing up, both then and now, do not spend a lot of time thinking about being chosen as the mother of the Messiah.
So there are at least two versions of The Fisherman’s Wife, one a novel and the other, my book, a novella. Both authors made choices on what to include and what to leave out. In both cases these choices defined the story and either illuminated or obfuscated the point.
I intentionally leave out controversial subjects and eliminate all the usual stories when I develop an idea. I want to create something new and look at what I see as more subtle facets of who and what Jesus was to women of his time and what he is to women today. By omitting what is in other stories and what has been told before, I am able to tell a story of what it might be like for me to encounter Jesus in my own garden.