The Hard Craft of Writing

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Pevensey Castle, on a visit in November 2011

Rebecca Welshman

I am currently redrafting my first novel and it is a lengthy arduous process. When you are told that the first draft is not right and you have to return to it and come up with something new, and repeat this process, it takes its toll. I was warned that it would be difficult, but you don’t appreciate how difficult until you are in the midst of it.

 

Richard Jefferies understood how difficult it was to perfect your craft as a writer. He spend years drafting and redrafting his novels. His essays did not seem to cause him so much trouble as he was able to edit The Gamekeeper and Home, Wild Life in a Southern County, and The Amateur Poacher from their serialised versions into book form quite rapidly. Fiction writing did not come so easily to Jefferies, and he experimented with attempts in sensation fiction in the early 1870s before finding a reliable fiction voice.

 

But it wasn’t just his fiction writing that troubled Jefferies. He refers to The Story of My Heart as being the record of seventeen years’ thought and feeling. In his notes, and in the text itself, he alludes to trying to compose the book earlier in life, at a spot by the River Churn in Cirencester, and later at Pevensey Castle in Sussex, in 1880:

 

“It happened just afterwards that I went to Pevensey, and immediately the ancient wall swept my mind back seventeen hundred years to the eagle, the pilum, and the short sword. The grey stones, the thin red bricks laid by those whose eyes had seen Caesar’s Rome, lifted me out of the grasp of houselife, of modern civilization, of those minutiae which occupy the moment. The grey stone made me feel as if I had existed from then till now, so strongly did I enter into and see my own life as if reflected. My own existence was focussed back on me; I saw its joy, its unhappiness, its birth, its death, its possibilities among the infinite, above all its yearning Question. Why? Seeing it thus clearly, and lifted out of the moment by the force of seventeen centuries, I recognised the full mystery and the depth of things in the roots of the dry grass on the wall, in the green sea flowing near. Is there anything I can do?”

 

In his notes for The Story of My Heart Jefferies writes that he had burned all previous attempts ‘in anger or despair’, but in 1880, after visiting Pevensey Castle, he made notes which he kept and from which developed the finished manuscript. In the book he describes his thoughts and feelings on entering the site and being surrounded by the Roman wall:

 

“The mystery and the possibilities are not in the roots of the grass, nor is the depth of things in the sea; they are in my existence, in my soul. The marvel of existence, almost the terror of it, was flung on me with crushing force by the sea, the sun shining, the distant hills. With all their ponderous weight they made me feel myself: all the time, all the centuries made me feel myself this moment a hundred-fold. I determined that I would endeavour to write what I had so long thought of, and the same evening put down one sentence. There the sentence remained two years. I tried to carry it on; I hesitated because I could not express it: nor can I now, though in desperation I am throwing these rude stones of thought together, rude as those of the ancient wall.”

 

Throughout history, Pevensey was the site of struggle and capture. Knowledge of its long sieges, starving inhabitants for weeks at a time, caught the imagination of poets and authors. For Jefferies, who borrowed from the Romantic tradition of celebrating heroes and their conquering prowess, the historical fight for freedom translated into a fight for liberty in expression; a personal fight to free the mind from the oppression of engrained social, political and spiritual structures and discover new territory. (from my thesis: https://ore.exeter.ac.uk/repository/bitstream/handle/10871/10921/WelshmanR.pdf?sequence=2)

 

Just how hard the struggle got we will never know. But something of Jefferies’ anguish can be discerned from the record he leaves us in The Story of my Heart of the difficulty of self-expression in a world that seems indifferent to your efforts. In the late 1870s, on a walk to Beachy Head, he pondered what he describes as ‘the bitter question’:

 

“Time went on; good fortune and success never for an instant deceived me that they were in themselves to be sought; only my soul-thought was worthy. Further years bringing much suffering, grinding the very life out; new troubles, renewed insults, loss of what hard labour had earned, the bitter question: Is it not better to leap into the sea?”

 

What was the reward of struggling and striving to produce things that people seemed to have no interest in reading? Jefferies could hardly have been consoled by the poor sales figures of The Story of My Heart when it was published in 1883, and the scathing reviews in the press. Yet, this did not deter him, as he resolved to rework the book and produce something larger and more comprehensive. He says that he ‘regrets’ not having written about his difficulties – ‘to give expression to this passion’ – and that The Story of My Heart, so many years later, is ‘in part’ this expression. Although the book was a failure on publication it went on to become the most successful of any of his books, being reprinted sixteen times between 1891 and 1922. Jefferies could not have anticipated the reception of his ideas, and he died in 1887 without knowing that his efforts had not been in vain.

 

Writing requires belief in the value of the idea and belief in your own ability as a writer to carry it through. Jefferies may have been ahead of his time but he never gave up the fight for creative expression.