Erle
Stanley Gardner, the creator of Perry Mason, took a different approach to
writing than most authors. According to published reports, it went something
like this:
He
would sketch out a plot outline and list of characters, and turn the whole
thing over in his head for a few days or weeks until he was ready. Then he
would go into an office, armed with coffee and cigarettes, set up a Dictaphone,
and dictate the entire book in an uninterrupted 24 to 48 hour stretch.
Considering
how many copies his books sold, you can’t argue with success, but having read a
couple of those books, I’d have to say that if you didn’t know how they were
written, you might have guessed. Even by the lightweight standards of the
mystery novel, they are pretty Spartan. True, the story rushes along and keeps
you turning pages, but not so well that you don’t notice the lack of
description, character and atmosphere.
Compare
Gardner to a couple of his contemporaries, such as Raymond Chandler or Earl
Derr Biggers, author of the Charlie Chan novels, and you can tell the
difference. If not for the success of Perry Mason on TV, I suspect that only a
handful of genre scholars would be reading Gardner today.
It
is true that there have been a handful of good authors who could be brilliant in
a hurry. Charles Dickens — channeling God, the Creative Spirit, or whatever you
want to call it — supposedly dashed off his manuscripts in such a state of
inspired frenzy that each page of foolscap flew to the floor as quickly as he
wrote it.
On
the other hand was Joseph Conrad, who found writing such hard and painful work
that his wife just about had to drag him out of bed and push him to the desk
each morning.
Most
writers fall somewhere in between those poles, but I would argue, based on
experience and observation, that most writers derive considerable benefit from
reflection and revision, two qualities that are the bedrock of style and
consistency.
It
used to be that publishing-house editors caught mistakes and helped an author
improve style, organization and consistency; no more. It’s mostly on the author
now, and almost every book published has several eye-popping mistakes as a
result. Revision, particularly after setting a piece aside for a while and
viewing it again with a fresh eye, is what winnows out the clichés,
redundancies, and flabby prose.
These
reflections were inspired by a recent story in the Times, reporting that
authors of genre books (mystery, romance, science fiction) are increasingly
being pressured, by the demands of e-publication, to do more than one book a
year to satisfy insatiable demand from readers who have no concept of patience.
That may not seem like a lot to
some people, and certainly many authors have done it. In the 1930s and 40s, John
Dickson Carr pounded out two or three mysteries a year, and he did it with
typewriters. He also wrote in an era where detective technology was
considerably less than now and hardly any research was necessary. A book a year is a lot of work, and
considering how much sloppy writing and how many mistakes, large and small,
creep into the ones written at that rate, it’s hard to see how speeding up the
production line will improve or even maintain quality. It will simply turn
every author into Erle Stanley Gardner. Haul out the Dictaphone and bring in
the coffee and cigarettes.