Tag Archives: Outliers

On Writing Bad Fiction

11 Jul

I just wrote a  bad story. A 26-page disaster of a story, to be specific.

Now that I’ve come to the end of it, now that it’s all been punched out—I’ve come to realize that the whole thing is one enormous, colossal piece of crap.

Mardi Gras Day, New Orleans: Krewe of Kosmic D...

Mardi Gras Day, New Orleans

In the story, “Parade,” two couples—four vapid and awful people—wander around Mardi Gras for one debauched weekend, each of them struggling to gain some semblance of power over their respective partner. In the end the whole thing is not even about their trite and tedious power dynamics, but instead about their perception of “reality” vs. the reality of a violent, poverty-stricken post-Katrina New Orleans. The problem is, to reach the didactic and melodramatic conclusion about poverty in New Orleans, the reader has to first follow four idiotic, indulged, ego-maniacal college students for 25 pages—only to realize on the final page that not even the author gives a damn about their petty tiffs. Sounds fun, right? “Parade” was, essentially, the definition of a failed story.

Then again, I needed to write it, and now that it’s out of my system, I’m free to move on to better things. Whenever I look back on a god-awful story, and consider all of the time I wasted on said swampland of prose, I think of Malcolm Gladwell’s Outliers and regain a sense of my former optimism.

Outliers (book)Gladwell argues in Outliers that all of the “greats” of history—Mozart, The Beatles, Bill Gates—have achieved the extraordinary not as much through some innate “genius,” but rather through the old theory of “practice makes perfect.” If a person practices his or her skill intensely and with focus for 10,000 hours, that individual should, by the end of it, be an expert in his or her field. To be fair, Gladwell points out that not all people who make tremendous efforts (10,000 hours of tremendous efforts) meet with success in the end. Environment and circumstance are important, too, but let’s not worry about that for now—let’s worry about what we can change.

Let’s say I worked 30 hours (roughly an hour a page) on “Parade.” With all of those long hours typing in little dark coffee shops, sipping on caramel lattes, I’d still only be 0.3% of the way to reaching the extraordinary, unbelievable genius of literary greats like Joyce, Hemingway, Faulkner, and Fitzgerald.

Ten thousand hours is a lot of time—and maybe that’s a good thing. As a beginning writer, there’s only so much I can possibly achieve at this point—which isn’t a very satisfactory consolation, but a true one. If I want to be a better writer, I can’t waste time getting hung up on one lengthy piece of drivel.

There are so many more stories to write! Thirty hours on one bad story—who cares?