What does it take to inspire you?

The Avon Free Public Library in Avon, CT, is running a Local Author Festival this summer, the fifth year in a row that the staff has promoted Connecticut authors. I have just participated in a fiction author panel in which six of us answered questions about inspiration (or Inspiration).

The June Fiction Author Panel at Avon Free Public Library

Questions like: Where do you get your ideas for a story? What do you do when you're not inspired? Do you write every day? Do you do any research in writing your books? How do you choose character names? And more.

I am always interested in hearing other writers answers to these perennial questions. After all, there is no one answer. Ideas come from everywhere, anywhere—personal experience, news stories, reading, conversation. I am hard put to say exactly where a story idea originates, although every one of my books and short stories has some connection to my own life.

And when we're not inspire, some of us write anyway—a journal, a letter, an essay, a poem. And some knit, read, watch a movie.

Not everyone writes every day. One panelist has written one book and has no plans to write another. The working writers on the panel, however, are doing something related to writing—researching, recuperating, recharging—when they're not.

Because it was an opportunity to share tips and thoughts with other writers, I thought the experience was valuable. I hope the people who attended our panel got as much out of it as I did.

What I did on my summer vacation

What do you do at a translators' conference? If it's the week-long Middlebury Bread Loaf Translators' Conference, from which I have just returned, you work your buns off.

Classes, lectures, and social events during the translators conference were held in The Barn
on the Middlebury Bread Loaf campus in the Green Mountains of Vermont.

You can start with an hour-long yoga session at 6:30 a.m., (I started with breakfast at 7:30) and end with readings and socializing at 10:30 p.m. In between there are lectures, workshops, talks, and meetings. To be admitted, every one of the fifty or so translators at this year's conference submitted a translation and its original. Translations of literary fiction and poetry, and the underlying assumption is that the translator knows the language well enough to understand the original. You don't—for the most part—try to re-translate a work.

For one thing, who could? My workshop leader was Bill Johnston who teaches literary translation at Indiana University, who has published over 30 book-length translations from the Polish, including poetry, prose, and drama, and who (by the evidence in our workshop) has a reading knowledge of French and German. The workshop to which I was assigned did have translations from French and German, but for the rest we were pretty much on our own.

Our workshop considered two translations from Japanese (mine was one), two from French, two from Spanish, and one each from Swedish, Vietnamese, and German. Each translator read a paragraph or so from the original to give the group a sense of the sound of the piece and then discussed any problems/questions/issues she/he was having with the translation. Some of us—and I include myself—felt that the work we'd submitted was relatively polished. It did not read like a translation.

I was mistaken. By the time Bill and the group had finished discussing my prose, my first page and a half were covered with red edits. One key lesson learned last week: When you're having a problem with the English, the solution is not to return to the original but to spend more time, thought, tears, and sweat on the English. As one of my fellow translators said, "Take it all the way to English."

So the translation workshop turned out to be as much a writing workshop as a discussion of translation. What makes a good translation? How close should you be to the original? Not so close that the English sounds clunky or unnatural. Not so close that the dialogue sounds as if spoken by aliens (unless of course the characters in the work are aliens).

There is an argument to make it "translatorise" so a reader can follow along with the original, but how many readers what to do that? It's hard enough to find readers for a translation at all—Elena Ferrante, Steig Larsson, Haruki Murakami being exceptions—why make a reader work? And anyway the translations of Ferrante, Larsson, and Murakami are engaging English novels.

In my next post, I'll talk about some of the practical issues surrounding literary translation. I.e., how do you get published?