Clutter

It's no secret that I have a problem with clutter. I now pretty much accept that my life is a binge and purge of clutter. Accumulate crap on tops of desks and tables. Reach a point where I can't take it anymore. Grab a trash bag and throw it all out. (Unless it's paper, then it gets recycled--at least I am a green clutterer.) Every book on organization, every Clutter Guru will tell you this is an absolutely horrendous way to deal with clutter. But, in fact, after years of this, I give up. It's how I am. Surprisingly, though, my writing is usually so lean that I have to ADD pages and details when my books finally get to an editor. There isn't any clutter in my writing.

Years ago, in my writers' group, when we were comprised of different members, one guy and I got into a pretty heated discussion about dialogue. It was the opening chapter to Spanish Disco, and since the book sold with the dialogue in place, I like to think I "won." But in reality, the concept we were arguing about apparently bears repeating if the dialogue someone else (he knows who he is) shared with me recently from a book he is editing is any indication.

Basically, the book opens with a bit of dialogue, and the push and pull of the sexual tension between the two (it's transatlantic, over the phone) is pretty obvious, and for the most part, that was all I wanted from the scene. The other member wanted me to clutter up the dialogue with something along these lines:

"Hi, it's me, Michael, your favorite author, who happens to live in England, while you, in fact, live in Florida."
"Michael, as your book editor for the last five years ever since I got out of NYU's graduate school where I studied English Literature (and, of course I went there since I am actually a native New Yorker), I know you must be calling me about your latest case of writers' block."

In reality, no one talks like that. While writing coaches and editors (myself included) will often tell writers to insert back story into dialogue rather than dump it in scenes--we don't intend for anyone to do it with the idea that it will clutter the dialogue. When I pick up the phone, if it's someone I am intimately acquainted with, I know who they are before they identify themselves. In the case of the above, you find out later that Cassie never--ever--answers the telephone. (Interestingly, neither do I!) EXCEPT for this man. So of course she would know who he is. Dialogue with all the details filled in feels hopelessly unnatural.

But I think maybe it's also a case of being absolutely sure what you WANT out of every bit of dialogue and every scene. If it's not important to know x or y right now, don't clutter. You can find out the details later. If your writing is crisp enough and clever enough, the dialogue solid, the scene interesting, readers will fill in gaps. They'll have a little patience. They'll wait for the small reveals as they come along.

I can think of one book where I gave a description of a woman--just a couple of details. At the time--again, what did I want from the scene--her height was unimportant for readers to know. Later, when she was arguing with her best friend, she argued into his chest--then you found out she was short. The scenes were chapters apart. It's fine.

What function does your scene or dialogue serve? Then take a garbage bag and purge the rest.

Thoughts?