| — | Stephen King, Bag of Bones |
I made a Twitter that goes right along with my writing blog. I am awful at the Twitter, but it will coincide as a self-marketing tool, when the time comes that I am ready to self-market.
I have too many things on the internet. I can’t keep up with myself. I need a secretary.
I rummaged through some old boxes that I had stored away to see if I could locate my old piles of floppy disks, but no such luck. I did stumble across a few other gems that I may begin archiving on here in the coming weeks though, including a journal from my sixth grade class back in ‘98-‘99. Here is one my deeper entries, unedited for your reading pleasure:
If I was snowed in for a week I’d sleep in till 10:30 then wake up and watch TV and eat. Then I’d go on my computer for a couple hours. Then I’d eat again. Then I’d play 64. Then I’d eat again. Then I’d read for a while and listen to the radio. Then I’d eat again. Then I’d stay up all night on the computer. Then I’d sleep. That’d just be the first day. On the other days I might play board games and watch videos… and I’d eat a lot. Maybe I’d go in the snow.
Yeah, I was a weirdo.
Instead of doing my grad work (what can I say… it’s not due until Friday and I work better under pressure anyway), I have been rediscovering and polishing up some old essays on education, history, and politics from undergrad and some earlier grad courses. Why am I doing this when I have actual work to complete? I have no idea. I have issues. Eventually though, I think I’m going to make all of my old essays that I am content with available on my other writing blog, which as soon as I get some more of my writing edited and polished will eventually serve as a writing portfolio of sorts anyway.
I only wish that I could find some of my research papers and essays from high school. I have plenty of the fiction that I wrote from ages 8 to 12, but I’d love to stumble across that eleventh grade research paper that I wrote on Vietnam. Believe it or not, I actually attempted to justify our long and deadly intervention. I would take a guess that these writings are located on some floppy disks, probably hidden away at the bottom of a box embedded deep in an attic or basement somewhere. Maybe they are better off there.
| — |
The Elements of Style by William Strunk & E.B. White challenged so much of what I knew about writing when I first read it at eighteen years old. I had arrogantly assumed that the praise from teachers throughout high school for my ability to properly use and identify a gerund equated brilliance. I realized after reading this during freshman year of college how little I understood the craft of writing - and I have worked hard in the seven years since to improve my writing through simplification. The most important lesson that I learned was that one must fully understand the rules of writing and only then should one attempt to break or improve upon them. The few times each year that I reference The Elements of Style, I am still impressed by its simplicity and its power. I am reminded that despite my improvement and how comfortable I am writing as I’ve found my voice, there is still so much room for improvement - although I would hope that if I am still writing into my 80s that there still will be. If you write and do not own The Elements of Style, it’s $0.36 for a used copy on Amazon. Read it. Understand it. Play with it. Disagree with it. Make it your Bible. Then give the damn thing away and get writing. You can buy another copy later. |
The prior excerpts that I posted from The Paris Review’s collection of Steinbeck’s writings about the craft of writing I had read in the past. This next excerpt I have not and it is equal parts hysterical and fascinating. Below, in a letter to his good friend and editor Pascal Covici (to whom Steinbeck dedicated East of Eden), Steinbeck writes a satirical summation of dialogue he had with various people involved in the process of publication once he had completed writing his magnum opus East of Eden.
Well - then the book is done. It has no virtue any more. The writer wants to cry out, “Bring it back! Let me rewrite it,” or better: “Let me burn it. Don’t let it out in the unfriendly cold in that condition.”
As you know better than most, Pat, the book does not go from writer to reader. It goes first to the lions - editors, publishers, critics, copyreaders, sales department. It is kicked and slashed and gouged. And its bloodied father stands attorney
EDITOR The book is out of balance. The reader expects one thing and you give him something else. You have written two books and stuck them together. The reader will not understand.
WRITER No, sir. It goes together. I have written about one family and used stories about another family as—well, as counterpoint, as rest, as contrast in pace and color.
EDITOR The reader won’t understand. What you call counterpoint only slows the book.
WRITER It has to be slowed—else how would you know when it goes fast?
EDITOR You have stopped the book and gone into discussions of God knows what.
WRITER Yes, I have. I don’t know why. Just wanted to. Perhaps I was wrong.
SALES DEPARTMENT The book’s too long. Costs are up. We’ll have to charge five dollars for it. People won’t pay five dollars. They won’t buy it.
WRITER My last book was short. You said then that people won’t buy a short book.
PROOFREADER The chronology is full of holes. The grammar has no relation to English. On page so and so you have a man look in the World Almanac for steamship rates. They aren’t there. I checked. You’ve got the Chinese New Year wrong. The characters aren’t consistent. You describe Liza Hamilton one way and then have her act a different way.
EDITOR You make Cathy too black. The reader won’t believe her. You make Sam Hamilton too white. The reader won’t believe him. No Irishman ever talked like that.
WRITER My grandfather did.
EDITOR Who’ll believe it.
2ND EDITOR No children ever talked like that.
WRITER (losing temper as a refuge from despair) God damn it. This is my book. I’ll make the children talk any way I want. My book is about good and evil. Maybe the theme got into the execution. Do you want to publish it or not?
EDITORS Let’s see if we can’t fix it up. It won’t be much work. You want it to be good, don’t you? For instance, the ending. The reader won’t understand it.
WRITER Do you?
EDITOR Yes, but the reader won’t.
PROOFREADER My God, how you do dangle a participle. Turn to page so and so.
There you are, Pat. You came in with a box of glory and there you stand with an arm full of damp garbage.
And from this meeting a new character has emerged. He is called The Reader.
THE READER
He is so stupid you can’t trust him with an idea.
He is so clever he will catch you in the least error.
He will not buy short books.
He will not buy long books.
He is part moron, part genius and part ogre.
There is some doubt as to whether he can read.
There is a time period in my life referred to as my Bad Place. Many experience it in some form for some length of time: an era of sheer stupidity, self-loathing, and self-pity, orchestrated by a vulnerability brought on by a seemingly catastrophic event that is concerning no one but the person experiencing it. Logic temporarily excuses itself.
My bad place lasted around a year (some might argue two) before I started to come to terms with a breakup that had been inevitable anyway - something, of course, in hindsight that I am thankful for happening, but at the time left me embarrassingly devastated and irrationally bitter. The time, as is usually the case in people’s “bad places,” was a blur of watered down whiskey, cheap light beer, girls, and rapid social expansion - continual new friendships defined solely by the bar as I became known as a regular in numerous establishments. Weeknights extended to 3 AM. Responsibility waned. Late night pizza was king.
Sometime around three or four months after the break-up, during the first few weeks of the spring semester at Edinboro University, I began to notice an attractive young woman who sat behind me in one of my college geography classes. She had dark bangs that rested delicately on her brow, big brown eyes, a nose ring, and a slightly hipster five-and-dime look to her. She was different and I liked that - a certain Empty Keg attendee vibe, the town’s resident art student bar, rather than the Hotel or Boro, the more sorority scenes that I had spent most of my time at since my Bad Place began. Never have I been the nervous type, especially around females, but I felt rather queasy in my desire to talk to her - I remember specifically noting one morning how we were a few weeks into our class and I had not yet spoken to her. Would it not be perceived as strange to do so now? I wondered. I suppose that I had been too busy sitting in my seat, examining the posters on the wall for the forty-third time, and sipping my coffee in hopes of curing my hangover.
It took some time, but one morning, charm out of the equation, I struck up a forced and somewhat awkward conversation at the beginning of the class about our dorky, but nice professor - and, to her, I probably came off as the dorky, but nice classmate who sat in front of her. Which hadn’t been my intention.
Still, from that day forward, I made a point to talk to her before every class. Without the alcohol, pounding beats, and a dance floor sticky with rum and diets, I had apparently forgotten how to have a proper conversation with a female. We would speak about the class (“Did you get all of the homework done?”), the painfully obvious topic of weather (“Pretty cold outside today, huh?” “Well, it isFebruary in Edinboro.”), I’d poke fun at her terribly beaten up notebook, we’d cover mutual acquaintances, our shared interests in movies and music - and lo and behold, there it was: we discovered that we were both huge fans of this relatively unknown band at the time called The Walkmen. It was my in.
The following week, on the way to class, I swung by the Rite Aid and bought a new notebook. As I sat in my seat in front of her, I dropped the notebook on her desk, with faked apathy reserved for a middle schooler denying a crush, joking how she wouldn’t need to squish ten pages worth of notes onto the very last page of her tattered one any longer. She had, outwardly at least, thought that it was cute and thoughtful and this made me happy.
I soon found myself thinking about her outside of class. Maybe I’d throw a “get together” and invite her. Maybe I’d just see if she wanted to hit up the bar for a drink after class one day. Or I could get our mutual acquaintance to put in a good word for me. I kept pondering over scenarios for getting us together outside of class.
Then one day, in a moment of sheer brilliance, I bought two tickets to see The Walkmen who were playing just a short drive away in Pittsburgh, knowing that I would ask her to join me - what a perfect opportunity! - knowing that I could also easily find some other friend to go if she could not. The next class, I asked her - abruptly, awkwardly. She smiled politely and with little hesitation said that she couldn’t go that weekend due to work. Victoria’s Secret. Couldn’t request off at this point. I nodded knowingly and smiled back and said no problem, shrugging it off like I had only asked casually, maybe even on a whim, I just had these tickets sitting around anyway and I thought I’d throw the offer out there to her first, since she liked them and all. No big deal.
She was a bright young girl and I think she was smart enough to sense my vulnerability and confusion - or maybe it was just the stench of stale beer emitting from my pores and the second hand smoke radiating from being absorbed in my hair - and she intelligently wanted no part of it outside of the pleasantries that we exchanged in class.
I had taken her rejection of going to that concert as a rejection of me. After that, like a bitter teenager, I ceased my pursuit, never once making an effort to hang out with her outside of class again. She sensed my sudden undeserved coldness towards her in class - or if not coldness, then a forced indifference - and while we continued to have increasingly brief conversations at the semester winded down, we never spoke again after the last class.
There were similar incidents as the months passed, but I learned from them. I seemed to do better under the guise of booze and loud music and dimmed lights and I would be caught in that cycle for some time longer, slowly easing out my way out of it as adult responsibilities took precedence. It’s strange looking back at this time period, which was more than a few years ago now, and try to put myself back in that mindset. I was 21 and young and angry and confused. Nowadays, it seems to me as if that person was not I, as if the memories had been planted in my mind in some Matrix-like scheme. But it was me all right.
This tragic amusement of young adulthood is that it reveals our frailness. We can choose to deny it or hide it… or accept it. The Bad Place. Few, if any, of us are immune to the side-effects. One learns during it that we only have so much control - and once a person is made aware of their own absurdity and accepts it, there is no reason for that bitterness and self-pity to ever make an appearance again.
| — | John Steinbeck on writing (from The Paris Review) |
1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person - a real person you know, or an imagined person and write to that one.
4. If a scene or a section gets the better of you and you still think you want it - bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
6. If you are using dialogue - say it aloud as you write it. Only then will it have the sound of speech.
| — | John Steinbeck on getting started to write a novel (from the Paris Review) |
| — | George Orwell, Why I Write |
If you are interested, the link above directs to my new blog, which will be focused on my writing and serve as a hub (eventually) for my original works. Some of it contains reposts from this blog, some of it will be original work, and some of it will be about the process of writing itself (and the eventual quest for publication) - but unlike this blog, all of it will be about my writing, rather than all of my other bizarre interests.
Just reblogging this in case anyone else in interested.
If you want to be a writer, write. You may have to get a day job to keep body and soul together (I cheated, and got a writing job, or lots of them, to feed me and pay the rent). If you aren’t going to be a writer, then go and be something else. It’s not a god-given calling. There’s nothing holy or magic about it. It’s a craft that mostly involves a lot of work, most of it spent sitting making stuff up and writing it down, and trying to make what you have made up and written down somehow better. …
It does help, to be a writer, to have the sort of crazed ego that doesn’t allow for failure. The best reaction to a rejection slip is a sort of wild-eyed madness, an evil grin, and sitting yourself in front of the keyboard muttering “Okay, you bastards. Try rejecting this!” and then writing something so unbelievably brilliant that all other writers will disembowel themselves with their pens upon reading it, because there’s nothing left to write. Because the rejection slips will arrive. And, if the books are published, then you can pretty much guarantee that bad reviews will be as well. And you’ll need to learn how to shrug and keep going. Or you stop, and get a real job.
| — | Neil Gaiman: On Writing |