I am like a violinist whose ear is true, but whose fingers refuse to reproduce precisely the sound he hears within. Examine "quality" short stories. He waited until the age of 30 to write his first novel, Fahrenheit White A poet can survive everything but a misprint.
Most of these have to do with the day-in, day-out practices that make up what he calls "writing hygiene. Le Guin Almost anyone can be an author; the business is to collect money and fame from this state of being.
He suggests calling them up to "fire them" without delay. Do the same with your fears. Generally I dig down underneath them so far that the story that finally comes out is not what people thought their anecdotes were about.
You can only see as far as your headlights, but you can make the whole trip that way. List ten things you love, and ten things you hate. In his mind, "writing is not a serious business.
He and his wife, who "took a vow of poverty" to marry him, hit 37 before they could afford a car and he still never got around to picking up a license. Scott Fitzgerald Writing is its own reward. Because without a story, you are merely using words to prove you can string them together in logical sentences.
The reader, reading it, makes it live: Live in the library. Or keys to keyboard; "Use whatever works," he often says. To accumulate the intellectual building blocks of these metaphors, he suggests a course of bedtime reading: Reluctantly, he comes to the conclusion that to account for his book is to account for his life.
Bear that in mind when you inevitably attempt, consciously or unconsciously, to imitate your favorite writers, just as he imitated H.
Keep writing short stories. Imagination, not invention, is the supreme master of art as of life. Without that exercise, the muscles seize up. I say it just begins to live that day.
Fall in love with movies.
Begin your writing life instead by cranking out "a hell of a lot of short stories," as many as one per week. Heinlein The more closely the author thinks of why he wrote, the more he comes to regard his imagination as a kind of self-generating cement which glued his facts together, and his emotions as a kind of dark and obscure designer of those facts.Writers on Writing: Collected Essays from The New York Times (Times Books, ) Writers on Writing, Volume II: More Collected Essays from The New York Times (Times Books, ).
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