terça-feira, 10 de dezembro de 2013
sexta-feira, 6 de dezembro de 2013
1. “If people cannot write well, they cannot think well, and if they cannot think well, others will do their thinking for them.” 2. ”- Never use a metaphor, simile, or other figure of speech which you are used to seeing in print. - Never use a long word where a short one will do. - If it is possible to cut a word out, always cut it out. - Never use the passive where you can use the active. - Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent. - Break any of these rules sooner than say anything outright barbarous.” 3. “When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art.’ I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing.” 4. “For after all, what is there behind, except money? Money for the right kind of education, money for influential friends, money for leisure and peace of mind, money for trips to Italy. Money writes books, money sells them. Give me not righteousness, O lord, give me money, only money.” 5. ”In an age like our own, when the artist is an altogether exceptional person, he must be allowed a certain amount of irresponsibility, just as a pregnant woman is. Still, no one would say that a pregnant woman should be allowed to commit murder, nor would anyone make such a claim for the artist, however gifted. If Shakespeare returned to the earth to-morrow, and if it were found that his favourite recreation was raping little girls in railway carriages, we should not tell him to go ahead with it on the ground that he might write another King Lear. And, after all, the worst crimes are not always the punishable ones. By encouraging necrophilic reveries one probably does quite as much harm as by, say, picking pockets at the races. One ought to be able to hold in one’s head simultaneously the two facts that Dali is a good draughtsman and a disgusting human being. The one does not invalidate or, in a sense, affect the other. The first thing that we demand of a wall is that it shall stand up. If it stands up, it is a good wall, and the question of what purpose it serves is separable from that. And yet even the best wall in the world deserves to be pulled down if it surrounds a concentration camp. In the same way it should be possible to say, “This is a good book or a good picture, and it ought to be burned by the public hangman.” Unless one can say that, at least in imagination, one is shirking the implications of the fact that an artist is also a citizen and a human being.” 6. ”I do not wish to comment on the work; if it does not speak for itself, it is a failure.” 7. “In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning.” 8. “Good prose should be transparent, like a window pane.” 9. “I do not think one can assess a writer’s motives without knowing something of his early development. His subject matter will be determined by the age he lives in … but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape.” 10. ”Political language is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind.” 11. ”He was conscious of nothing except the blankness of the page in front of him, the itching of the skin above his ankle, the blaring of the music, and a slight booziness caused by the gin.” 12. ”Political writing in our time consists almost entirely of prefabricated phrases bolted together like the pieces of a child’s Meccano set. It is the unavoidable result of self-censorship. To write in plain, vigorous language one has to think fearlessly, and if one thinks fearlessly one cannot be politically orthodox.” 13. ”Good novels are written by people who are not frightened.” 14. ”All writers are vain, selfish and lazy, and at the very bottom of their motives lies a mystery.” 15. ”To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up.” 16. ”When I talk to anyone or read the writings of anyone who has any axe to grind, I feel that intellectual honesty and balanced judgement have simply disappeared from the face of the earth. Everyone’s thought is forensic, everyone is simply putting a “case” with deliberate suppression of his opponent’s point of view, and, what is more, with complete insensitiveness to any sufferings except those of himself and his friends.” 17. ”The actual writing would be easy. All he had to do was to transfer to paper the interminable restless monologue that had been running inside his head, literally for years.” 18. “A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: 1. What am I trying to say? 2. What words will express it? 3. What image or idiom will make it clearer? 4. Is this image fresh enough to have an effect?” 19. ”Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.” 20. ”Writing a book is a horrible, exhausting struggle, like a long bout with some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.”
terça-feira, 3 de dezembro de 2013
1. Nova ideia ≠ novo projeto. Velhos projetos merecem novas ideias.
Paul Harding is the author of two novels, Tinkers and Enon, both of which have received starred reviews from PW. Oh, and the former is also the winnner of the Pulitzer Prize. Pay attention, because it's not every day that a Pulitzer winner shares his secrets. And there's even a special bonus writing tip.
1. Write as precisely and as lucidly and as richly as you can about what you find truly mysterious and irreducible about human experience, and not obscurely about what will prove to be received opinion or cliché once the reader figures out your stylistic conceit. There’s all the difference in the world between mystery and mystification. 2. Contrary to all those times you’ve heard a writer confess at a reading that he writes fiction because he is a pathological liar, fiction writing is all about telling the truth. Don’t confine truth to fact. Imaginative truth is as powerful and often enough more so than fact. William Hazlitt wrote that poetry (and by extension, fiction) is the language of the imagination and it, “is not the less true to nature, because it is false in point of fact; but so much the more true and natural, if it conveys the impression which the object under the influence of passion makes on the mind.” 3. Don’t write your books for people who won’t like them. Give yourself wholly to the kind of book you want to write and don’t try to please readers who like something different. Otherwise, you’ll end up with the worst of both worlds. I write lyrical, introspective, experiential books concerned with consciousness and perception. If a reader wants to know what my protagonist’s insurance policies are, he’ll be better off curling up with a nice cup of chamomile tea and an actuarial table. Similarly, don’t write your books for bad readers. Your books will suffer from bad readers no matter what, so write them for brilliant, big-brained and big-hearted people who will love you for feeding their minds with feasts of beauty. 4. It is true even though everyone says it is that you need to read and read a lot and read the best books. Not only do you need to read the best books, you need to read them well. I think it’s true that generally speaking your writing can only be as good as the best books you’ve read. (There are exceptions to this rule, and those are the writers you’d like to strangle for their off-handed brilliance, but they are so rare as to prove the rule by their exception. They are also so rare that you should not be tempted to think that you are one of them. You are not.) It’s true, too, that your writing can only be as good as the best readings you’ve given of the best books. I cringe when I hear someone say, “I read a lot of books.” Better to read one good book well than a hundred poorly. Aspire to be a world class reader. 5. Fiction is about immanence. We are beings who experience our selves in time and space, through our senses. Fiction persuades its readers that they are reading something artful by immersing them as fully as possible in the senses and perceptions, the thoughts and actions of fictional lives. No matter how philosophical or rhetorical you want to be, at the end of the day all philosophy and rhetoric is derived from sitting on a hard, uncomfortable park bench in the cold, or sweating it out on a cot in Mumbai, or chopping carrots for the stew, or standing in high cold wet grass at dawn. 6. Get your art written any way you can. It’s tempting as a teacher to present your own method as normative. It’s maybe even more tempting as a student to look for a method that sounds good and austere and disciplined, with a dash of charming self-deprecation thrown in, and conform to it in the hopes that it will work for you, because writing is hard, after all, and it’s nice to think that if you follow a prefabricated set of rules you’ll get a story or a poem or a novel out of it. But a huge part of being a writer is discovering your own intellectual and aesthetic autonomy, and how you best get the best words onto the page. The musician Tom Petty tells a great anecdote about working with the producer Jeff Lynne. Petty was in the studio making an album and being very doctrinaire about some recording method or another, much to Lynne’s exasperation, and so Lynne finally said to him, “Tom, no one gives a shit about how you make your records. They only care if the record sounds good.” Outside of writing workshops and seminars, no one cares if you sit facing the blank page for six hours every day beginning at sunrise, or if you loaf around frittering away most days like a bum, or if you write your book one line at a time on the sly in between typing your boss’s business letters at the office. What’s important is that your reader holds a thrilling, amazing work of art in her hands.