LITERARY NONFICTION
English 5760
Dr. Richard Nordquist
Armstrong Atlantic State University
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Advice Expanded versions of this page are now available at: - Writers on Writing: Overcoming Writer's Block - Advice from One Writer to Another - Advice from One Writer to Another (part two) - Writers on Writing - What Is Style? |
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ASSIGNMENTS WRITERLY ADVICE
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If I had to give young writers advice, I'd say don't
listen to writers talking about writing. I'm writing a book. I've got the page numbers done. Times are bad. Children no longer obey their parents, and
everyone is writing a book. What obsesses a writer starting out on a lifetime's work is the
panic-stricken search for a voice of his own. How vain it is to sit down to write when you have not
stood up to live. If you can't annoy somebody, there's little point in
writing. There are three reasons for becoming a writer. The
first is that you need the money; the second, that you have something to say that you
think the world should know; and the third is that you can't think what to do with the
long winter evenings. I love being a writer. What I can't stand is the
paperwork. The writer learns to write, in the last resort, only
by writing. He must get words onto paper even if he is dissatisfied with them. A young
writer must cross many psychological barriers to acquire confidence in his capacity to
produce good work--especially his first full-length book--and he cannot do this by staring
at a Writing became such a process of discovery that I
couldn't wait to get to work in the morning: I wanted to know what I was going to say. Why do writers write? Because it
isn't there. No professional writer can afford only to write when he feels like it.
If he waits till he is in the mood, till he has the inspiration, he waits indefinitely and
ends by producing little or nothing. The professional writer creates the mood.
He has his inspiration too, but he controls and subdues it to his bidding by setting
himself The way you define yourself as a writer is that you
write every time you have a free minute. If you didn't behave that way You know . . . that a blank wall is an apalling thing to look at. The
wall of a museum--a canvas--a piece of film--or a guy The ideal view for daily writing,
hour on hour, is the blank brick wall of a cold-storage warehouse. Failing this, a
stretch of sky will do, cloudless if possible. There's nothing to writing. All you do is sit
down at a typewriter and open up a vein. What is written without effort is in general read
without pleasure. Writing is the only thing that, when I do it, I don't
feel I should be doing something else. Writing is not necessarily something to be ashamed of, but do
it in private and wash your hands afterwards. My advice to memoir writers is to embark upon a
memoir for the same reason that you would embark on any other book: to fashion a text.
Don't hope in a memoir to preserve your memories. If you prize your memories
as they are, by all means avoid--eschew--writing a memoir. Because it is a certain
way to lose them. You can't put together a memoir without cannibalizing your own
life for parts. The work battens on your memories. And it replaces them. The difference between journalism and literature is
that journalism is unreadable and literature is not read. Words are, of course, the most powerful drug used by
mankind. To improve one's style means to improve one's
thoughts. Half my life is an act of revision. Read over your compositions, and where ever you meet with a passage
which you think is particularly fine, strike it out. Whenever you feel an impulse to perpetrate a piece of exceptionally
fine writing, obey it . . . and delete it before sending your manuscript
to the press. I'm not a very good writer, but I'm an excellent rewriter.
What is easy to read has been difficult to write. The labour
of writing and rewriting, correcting and recorrecting, is the due exacted by
every good book from its author, even if he knows from the beginning exactly what he wants
to say. A limpid style is invariably the result of hard labour, and the easily
flowing Creativity is allowing yourself to make mistakes.
Art is knowing which ones to keep. Nothing is more satisfying than to write a good sentence.
It is no fun to write lumpishly, dully, in prose the reader must plod through like
wet sand. But it is a pleasure to achieve, if one can, a clear running prose that is
simple yet full of surprises. This does not just happen. It requires skill, hard
work, a good ear, and continued practice. Substitute "damn" every time you're
inclined to write "very"; your editor will delete it and the writing will be
just as it should be. Vigorous writing is concise. The difference between the right word and the almost
right word is the difference between lightning and the lightning bug. Some editors are failed writers, but so are most
writers. |
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English 5760 is taught by Dr. Richard Nordquist.
Armstrong Atlantic State University
Victor 1-10
11935 Abercorn Street
Savannah, Georgia 31419
NEW PHONE: 912 921 5991
e-mail: nordquist@mail.com

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15 May 2007

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