Over the years Marlys and I have talked a lot about the challenges of switching from poetry to fiction, particularly with regard to elements like plot, which poets don't necessarily work with. Because so many writers do switch genres, it occurred to me that her experiences would be valuable to other writers. She recently agreed to set down some of what she had learned via email from her home in Los Angeles, CA:
About.com: In recent years, your reputation as a poet has grown with the publication of your book of poetry, an NEA grant, and a Hodder Fellowship. What compelled you to turn to the novel at this point in your career?
Marlys West: This is actually my second novel. I started the first one and realized it wasn't working and then began the one I'm finishing up now, so I've actually had it in mind to write fiction for a while. I wanted to write a novel simply because I love reading fiction. I think that's why I write poetry, too, because I love it so much. Also I have this idea of "the novel" as one of the hardest things I could imagine myself doing. It was a curiosity with me and it just kept growing so that I decided I had better try and write a novel and see what it was all about.
It was all about hard work.
AC: What has always most excited me about your poetry is the original way that you use language. Your poems are often witty or even playful, with surprising images or juxtapositions of images. Does this interest in language and imagery manifest itself in your fiction as well, or are your concerns very different in this new genre?
MW: Thank you! Thank you! I found that the first several drafts were deadly dull when it came to language because I wanted to "get it right." I wanted to figure out plot and character and came to the project so afraid of writing some garbled, weird thing that I did the opposite and wrote a dry, dull thing. It wasn't very much fun to write or read, but it was nice to realize that writing that kind of thing is hard work. Once I finished and revised and revised and had an object in hand, I felt more confident that I could take it all apart again and see what was working and what wasn't. And all the places (most of the pages, really) where I'd been worried about "being a novelist" were dull and dry and the places where I forgot all about that and just fell into the story were more fun. In those places I was able to use all of the tools that I use as a writer, including language, in ways that felt freer and more fun.
AC: What was the biggest challenge for you in going from writing primarily poetry to writing a novel?
MW: I would say the intimidation factor of knowing that a novel typically consists of about 80,000 words. I don't think I was worried that I wouldn't have that many words, but what would those words consist of? Did I have the stamina? Did I care enough about fiction to edit a draft that long? Wouldn't I get sick of it? I would! I did! But then you keep working. It's like being a mule some days.
