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Welcome

I started this blog in 2013 to share my reflections on reading, writing and psychology, along with my journey to become a published novelist.​  I soon graduated to about twenty book reviews a month and a weekly 99-word story. Ten years later, I've transferred my writing / publication updates to my new website but will continue here with occasional reviews and flash fiction pieces, and maybe the odd personal post.

ANNE GOODWIN'S WRITING NEWS

Instructions for a novel: some things I’ve learnt from Instructions for a Heatwave by Maggie O’Farrell

24/4/2014

23 Comments

 
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I read for pleasure, for the blog and for lessons in how to write.  It’s particularly satisfying when a novel ticks all three boxes, as has happened recently with Maggie O’Farrell’s Instructions for a Heatwave.  This is the unputdownable story of what happens to the family of Robert Riordan when he sets out to buy the morning paper and doesn’t come back.  It’s the work of an accomplished novelist at the top of her game yet I hope that by peeling back the skin and examining its viscera, I can drag myself a step closer to creating something comparable of my own.

The setting

Geographically, the novel takes us from North London to New York and Gloucestershire to its climax on a small island in Connemara.  While the streets, houses and workplaces are beautifully sketched, it’s the heat and attitudes of the English 1976 summer of drought that defines the setting right from the opening paragraph:

The heat, the heat.  It wakes Gretta just after dawn, propelling her from the bed and down the stairs.  It inhabits the house like a guest who was outstayed his welcome: it lies along corridors, it circles around curtains, it lolls heavily on sofas and chairs.  The air in the kitchen is like a solid entity filling the space, pushing Gretta down into the floor, against the side of the table. (p3)

Despite Elmore Leonard’s diktat to never open a book with the weather, this setting works by exposing the characters to a situation beyond the everyday: the melting tar, the bands of sweat along the hairline, the unnaturally clear blue skies, the fissures opening up in the lawn provide a back-drop of unease, mirroring the boiling emotions and frayed tempers within the family. 

The voice

Related in the third person from the points of view of Robert’s wife and all three adult children, the voice is elegant without being flashy.  It’s not only the heat that feels physically present.  Here’s the eldest son, Michael Francis, escaping momentarily from the family home:

Outside, he dithers for a moment about where to go now, the paper under his arm, his pockets weighed down with sweets for the kids.  He slips a pear drop into his mouth, the surface gritty, cratered against his tongue. (p185)

The apparent ease and simplicity of this voice inspires me to put in my 10,000 plus hours of apprenticeship in the hope of eventually producing something of a similar ilk.

Inciting incident

As an “undiscovered novelist”, I’m confused by the contradictory advice about making an impact from the first page.  Instructions for a Heatwave opens fairly gently, with just over seven pages of the matriarch reflecting on the heat and on her family as she goes about her morning routine.  It’s only towards the end of this that we see her beginning to wonder why her husband has not returned from the corner shop.  I was going to say that it’s the beautiful voice and the play of her neuroses that sustain the reader through these fairly humdrum events but, having read the blurb at the back of the book, we know Robert isn’t coming back before she does.  Would I have been as gripped if “inciting incident” had not been foreshadowed by the blurb?

Flawed characters

The individual members of the Riordan family each bring their own disappointments and failures to the communal crisis, magnifying the problem and enhancing the confrontation and conflict.  It’s their flaws and quirks that make the characters especially endearing, as well as contributing the subplots of the novel.  Aoife, the youngest of the three by ten years, is perhaps the most appealing.  Regarded as the dunce and black sheep of the family, she’s been a raging ball of anger and anxiety since the day she was born.  Here the “historical” setting is played to advantage as, unlike her family and teachers, the contemporary reader has no difficulty diagnosing Aoife’s problem and giving it a name.

Secrets

Aoife’s attempts to hide her dyslexia threaten her relationship with her partner and the job she adores.  Her mother, father and two siblings also have secrets which, in the course of the novel, are gradually revealed.  I’d love a glimpse of the wall charts, post-it notes, flow diagrams or whatever Maggie O’Farrell used to blend these various plotlines together.  My curiosity about what had happened and whether it would all come out in the wash had me turning the pages.  Yet, once it was over, some scepticism crept in about the methods through which both the father’s and the mother’s secrets were uncovered.  Perhaps the wrong lesson to learn, but what I take from this is that it doesn’t have to be perfect if you have the skills to entice the reader into your world. 

Dialogue without the information dump

Discovering these hidden truths is as important for the adult children in this family as it is for the reader.  Their shifting relationships with each other and with the events that have shaped their lives are central to the novel.  However, to show every detail of the confessions and revelations, could lead to some heavy dialogue.  Maggie O’Farrell avoids this, while still letting us see the impact of the information on the characters, by switching from dialogue to flashback and back again.  For example, when Michael Francis owns up to an experience of marital infidelity:

‘… awful.  Just awful.  The worst thing ever.’

If it hadn’t been for the school trip, everything would have been all right …

He rolls over on to his back and looks at Aoife.  She is sitting with her legs drawn up, her back to the wall.  ‘Don’t hate me,’ he says. (p207-215)

I’m sure another reading would teach me much more, but I think that’s enough to be going on with so I’ll pass over to you now.  If you’ve read Instructions for a Heatwave, what did you think of it?  If you’re a writer, are there any novels you’ve found particularly useful in teaching you how to write?
Thanks for reading. I'd love to know what you think. If you've enjoyed this post, you might like to sign up via the sidebar for regular email updates and/or my quarterly Newsletter.
23 Comments
Ruth Livingstone link
24/4/2014 08:16:16 am

Great dissection of the book from a writer's perspective. We can learn a lot from looking at how others have done it.

Reply
Sandra Davies link
24/4/2014 09:18:25 am

I've not yet learnt to analyse novels so clearly as you do here, and haven't read this book either, although O'Farrell is someone I've enjoyed reading, so I've followed this with interest.
Especially interesting was what you said about blurb pre-informing the reader, partly because, once having chosen to buy the book, I avoid reading the blurb if possible, preferring to read 'blind'; it hadn't occurred to me quite so clearly how it can be used as you describe it here.
As for what books influence - I've just finished Peter Temple's 'An Iron Rose' - Australian, laconic, blokey in ways I could not aspire to but so clean a style, and oh, some gorgeous gems of description. The rhythms stay in my head long enough to return to my writing and improve it for a few pages.

Reply
Annecdotist
24/4/2014 10:28:03 am

Ruth and Sandra, thanks for dropping by and sharing your experiences. It's awkward about the blurb, I think, because sometimes I might have picked up the book on the basis of the blurb so hard to ignore. Thanks for your recommendation, Sandra, not one I've come across, so good to know about.

Reply
Caroline link
25/4/2014 04:46:31 am

A great model for analysing a novel, enjoying its subtelties, the craft of writing - thanks Anne. I haven'd read this book, but now I will add - yet!
I like Maggie O'Farrell's pther books. And I remember the heatwave of 1976, I like novels where i have a good link.
Caroline

Reply
Annecdotist
25/4/2014 07:26:55 am

Thanks, Caroline, I'd happily recommend this novel. I think it could have worked almost as well without the heatwave, but I also enjoyed being reminded of that summer, when it seemed most peculiar to be so hot in Britain.

Reply
Norah Colvin link
25/4/2014 07:38:16 pm

Hi Anne,
I've come to you post via your comment at The Carrot Ranch (can't figure out why I still don't get emails when you post!) This is a wonderful review of the book and certainly fits neatly with Charli's flash challenge this week. Maggie O'Farrell's description of heat as an entity is very powerful; and you are right: we can learn a lot by looking at the skills of the masters. You have a lot to offer through your writing and, I'm assuming, your own novel is not too far away!

Reply
Annecdotist
26/4/2014 10:38:36 am

Thanks, Norah. Yes, the heat is well described, but I wonder how it would seem to an Australian where I'm assuming such heat is the norm?
And I'm really sorry you're not getting the posts through on email. Perhaps it's worth trying again? I've just checked the feed burner thing and it seems to work okay, but it isn't activated until you click on the link that they send you by email, so if you didn't get this it's worth checking your spam folders.
I actually quite like how it comes through on email as you get the full post.

Reply
Claire Fuller link
26/4/2014 11:24:25 am

This is a really interesting way to look at a book - as a writer as well as a reader. I agree with all your points. I wonder whether O'Farrell can get away with a slow opening now that people trust her and will buy her books. If this was a debut novel she was trying to get an agent with it, she might not be so lucky.

I really liked this book, the atmosphere, the characters, the heat. The biggest issue I had with it though was when they all decamped to Ireland. I don't want to give away why they did that for anybody who hasn't read the novel yet, but why didn't they phone first? They all just get in the car and go. That seemed like a big plot hole to me, and took me out of the story.

Despite that though, I'd really recommend it - great for readers and a lot here for us writers to learn.

Reply
Annecdotist
28/4/2014 03:45:51 am

Thanks for reading and commenting, Claire. I know what you mean about the strange shift to Ireland towards the end, although it didn't bother me too much as I was reading.
But I do get frustrated when established writers seem to get away with things that wouldn't pass muster for the great unpublished. Looks like you're almost there, though. You must be excited having your novel coming out next year.

Reply
Charli Mills link
30/4/2014 07:24:58 pm

You mention a similar struggle I have regarding contradictory advice to opening a book. I'm drawn to the hero's journey, especially non-epic ones involving flawed, every day people. A significant part of the journey cycle is understanding the ordinary world that contains the character. I, too, read (and watch movies) to study. So lately I've been paying extra attention to beginnings. I realized that great books and great movies do open with the ordinary, but they don't languish there. Often the first sentence is the triggering event, but the next three pages set the ordinary stage from where the hero steps off before we see how that event is a trigger. I'm intrigued by these devices both as a reader and writer, and how they work. Or don't! This one sounds like it works, and a book I'd like to read.

Reply
Annecdotist
1/5/2014 06:07:29 am

Thanks for your comment, Charli. It's quite a balancing act between grabbing the reader's interest and showing the character in their ordinary life. But I think you're right, we have to get both in right at the beginning, and can learn a lot from watching how others pull it off.

Reply
Safia link
8/5/2014 12:05:29 am

Extremely interesting how you've broken down the novel with ref to key aspects of the 'craft' of writing. Coincidentally I've downloaded 'Instructions for a Heatwave' to my Kindle recently, but yet to get round to it. I recently read Deborah Reed's 'Things We Set on Fire' and found that very useful with regard to structure. The author flits about from character to character and time in order to piece together a family's history which is hinted at in the brilliant prologue. This was an eye-opener for me and great instruction for how to tackle getting out of the conventional, chronological bind of storytelling. It's not a perfect novel - no such thing - but I can recommend it to someone who reads as a writer (something I must admit, I find difficult).

Reply
Annecdotist
8/5/2014 03:46:35 am

Thanks, Safia, will be interested to know what you think of Heatwave when you get round to reading it. Thanks also for the recommendation.
One of the best things about defining ourselves as writers is that we can spend time reading as part of the job! Perhaps, whether we do it intentionally or without being aware of it, we are garnering knowledge of how to write. Or do you think you still read solely for entertainment?

Reply
Safia link
11/5/2014 10:39:13 am

I do still read for entertainment, Anne and suppose I am lucky in that I can switch off the 'writerly' eye to a certain degree. However, when I am concerned about something in my own writing, eg, structure, or how best to handle multiple points of view, I select reading which might be of help and read with one eye on that. My problem for years has been reading like a critic which means that unfortunately, I dismiss a lot of books before getting beyond the first chapter (hence my love of the Kindle 'try a sample' option). I really just cannot find enough time to read on a daily basis, so I won't 'waste' time sticking with something I am not enjoying as a reader, regardless of how useful it might be to me as a writer.

Reply
Annecdotist
12/5/2014 04:34:34 am

Seems you have a good reading strategy, Safia. I think I can learn things from novels I don't totally admire, but those were the writing is a turn off really don't feel worth the frustration of continuing.

Reply
Luccia Gray link
27/7/2014 04:19:13 am

Great post and thorough review from a reader-writer's perspective. I haven't read this novel yet. It's on my to read list now!
I find it hard not to read as a writer, which makes the reading experience different, I'd say richer. We're all constantly learning and finding our voice. All writers have to renew their repertoire and be brave and move on, away from their comfort zone... Thanks for sharing this post with me. I enjoyed it!

Reply
Annecdotist
27/7/2014 05:03:42 am

Thanks for your comment, Luccia. I have mixed feelings about reading as a writer as it can make me a lot more critical, but perhaps trying to do something with that critical stance and understand why something doesn't work for me adds something to the reading experience. But that's how I read now, not much I can do to change it and hopefully it will help my writing.
Hope you enjoy the novel if/when you do read it.

Reply
Catie
28/7/2014 12:44:19 pm

I ran into an opening of a novel on a critiquing site where the only action happening was a woman making lunch for her husband and her tiny dragons while on the phone with her mother, and yet it hooked me really good. It was such an ordinary, everyday scene, even the dragons could have been substituted by kittens and absolutely nothing would have changed. What got me hooked was witty writing and a very believable character. I don't even know what's the inciting incident because the next part wasn't posted yet. It got me thinking that the impact on the first page doesn't have to be a bomb exploding and people running for their lives, it can just as well be the author's voice, good characters, atmosphere... And I always felt I was doing it wrong if I didn't open with that bomb.

Reply
Annecdotist
29/7/2014 12:43:16 pm

Thanks for this, Catie. Reminds me of a short story in an anthology I've just received which is simply a description of making scrambled eggs but it's so evocative http://baltimorereview.org/index.php/spring_2014/contributor/jill-storey
I really think the best instructions we can have is to write what we want to write as well as we can, but there's a whole industry built up around telling people how to do it.

Reply
Catie
29/7/2014 05:09:26 pm

Good story :)

I should add that I gave up on a LOT of stories that time because they didn't grab me from the start. It shouldn't really be a criteria when you're critiquing stuff, but I really didn't feel like reading boring stuff.

People are usually right about what you need to do, but how to actually do it is a lot trickier to figure out. And very often there isn't just one, single, sure thing, magical way of doing it.

Annecdotist
30/7/2014 07:41:04 am

Well said, Catie, thanks for this.

Lori Schafer link
4/8/2014 05:56:39 pm

I love your perspective, Anne. I definitely pick up more on craft issues when I'm reading novels nowadays, but never have I really sat down to analyze a work as a whole. For me it's more "I like this element" or "the author shouldn't have done that." I actually think I'd like to try your critical approach - it sounds like an interesting way to look at work. But I don't know that I'd want to do it for a book I'm really crazy about - I'd be afraid of ruining it for myself if I found a lot of flaws!

Reply
Annecdotist
7/8/2014 07:47:19 am

Thanks, Lori. I think it's something I'm developing with practice as I do more book reviews. I picked up on this one to try to analyse fully because it seemed such an enjoyable read but also something I could potentially learn to do for myself. But it did take me some time to write this post as there seem to be two steps: working out what I think and then working out how to communicate this to others.
While it can be disappointing to "burst the bubble" and discover flaws in a much-loved book, I think it's also encouraging because it makes me realise it's been written by an imperfect human being and I might just, if I work hard enough, get them myself.

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