NotitiesZen in the Art of Writing
Ray Bradbury
In "Zen in the Art of Writing" beschrijft Ray Bradbury het belang van dagelijks schrijven om creativiteit en geestelijke gezondheid te behouden. Hij benadrukt dat schrijvers oprechte emoties moeten vastleggen en dat enthousiasme essentieel is voor authenticiteit. Daarnaast moedigt hij aan om te leren van ervaringen en inspiratie te vinden door actief te leven en te observeren.
The smallest effort to win means, at the end of each day, a sort of victory. Remember that pianist who said that if he did not practice every day he would know, if he did not practice for two days, the critics would know, after three days, his audiences would know. A variation of this is true for writers. Not that your style, whatever that is, would melt out of shape in those few days. But what would happen is that the world would catch up with and try to sicken you. If you did not write every day, the poisons would accumulate and you would begin to die, or act crazy, or both. You must stay drunk on writing so reality cannot destroy you. (Location 39)
For writing allows just the proper recipes of truth, life, reality as you are able to eat, drink, and digest without hyperventilating and flopping like a dead fish in your bed. I have learned, on my journeys, that if I let a day go by without writing, I grow uneasy. Two days and I am in tremor. Three and I suspect lunacy. Four and I might as well be a hog, suffering the flux in a wallow. An hour's writing is tonic. I'm on my feet, running in circles, and yelling for a clean pair of spats. (Location 44)
Every morning I jump out of bed and step on a landmine. The I landmine is me. After the explosion, I spend the rest of the day putting the pieces together. Now, it's your turn. Jump! (Location 63)
if you are writing without zest, without gusto, without love, without fun, you are only half a writer. It means you are so busy keeping one eye on the commercial market, or one ear peeled for the avant-garde coterie, that you are not being yourself. You don't even know yourself. For the first thing a writer should be is—excited. (Location 78)
How long has it been since you wrote a story where your re al love or your real hatred somehow got onto the paper? When was the last time you dared release a cherished prejudice so it slammed the page like a lightning bolt? (Location 82)
So, simply then, here is my formula. What do you want more than anything else in the world? What do you love, or what do you hate? Find a character, like yourself, who will want something or not want something, with all his heart. Give him running orders. Shoot him off. Then follow as fast as you can go. The character, in his great love, or hate, will rush you through to the end of the story. (Location 102)
Time enough to think and cut and rewrite tomorrow. But today—explode—fly apart—disintegrate! The other six or seven drafts are going to be pure torture. So why not enjoy the first draft, in the hope that your joy will seek and find others in the world who, reading your story, will catch fire, too? (Location 109)
ideas lie everywhere, like apples fallen and melting in the grass for lack of wayfaring strangers with an eye and a tongue for beauty, whether absurd, horrific, or genteel. (Location 118)
What can we writers learn from lizards, lift from birds? In quickness is truth. The faster you blurt, the more swiftly you write, the more honest you are. In hesitation is thought. In delay comes the effort for a style, instead of leaping upon truth which is the only style worth deadfalling or tiger-trapping. (Location 134)
How do you commence to start to begin an almost new kind of writing, to terrify and scare? You stumble into it, mostly. You don't know what you're doing, and suddenly, it's done. (Location 140)
It isn't easy. Nobody has ever done it consistently. Those who try hardest, scare it off into the woods. Those who turn their backs and saunter along, whistling softly between their teeth, hear it treading quietly behind them, lured by a carefully acquired disdain. We are of course speaking of The Muse. (Location 287)
It is my contention that in order to Keep a Muse, you must first offer food. How you can feed something that isn't yet there is a little hard to explain. But we live surrounded by paradoxes. One more shouldn't hurt us. The fact is simple enough. Through a lifetime, by ingesting food and water, we build cells, we grow, we become larger and more substantial. That which was not, is. The process is undetectable. It can be viewed only at intervals along the way. We know it is happening, but we don't know quite how or why. Similarly, in a lifetime, we stuff ourselves with sounds, sights, smells, tastes, and textures of people, animals, landscapes, events, large and small. We stuff ourselves with these impressions and experiences and our reaction to them. Into our subconscious go not only factual data but reactive data, our movement toward or away from the sensed events. These are the stuffs, the foods, on which The Muse grows. This is the storehouse, the file, to which we must return every waking hour to check reality against memory, and in sleep to check memory against memory, which means ghost against ghost, in order to exorcise them, if necessary. (Location 302)
What is The Subconscious to every other man, in its creative aspect becomes, for writers, The Muse. (Location 310)
Tags: blauw
when a man talks from his heart, in his moment of truth, he speaks poetry. (Location 318)
If we are going to diet our subconscious, how prepare the menu? Well, we might start our list like this: Read poetry every day of your life. Poetry is good because it flexes muscles you don't use often enough. Poetry expands the senses and keeps them in prime condition. It keeps you aware of your nose, your eye, your ear, your tongue, your hand. And, above all, poetry is compacted metaphor or simile. Such metaphors, like Japanese paper flowers, may expand outward into gigantic shapes. Ideas lie everywhere through the poetry books, yet how rarely have I heard short story teachers recommending them for browsing. (Location 341)
Poetry, essays. What about short stories, novels? Of course. Read those authors who write the way you hope to write, those who think the way you would like to think. But also read those who do not think as you think or write as you want to write, and so be stimulated in directions you might not take for many years. (Location 365)
What is the pattern that holds all this together? If I have fed my Muse on equal parts of trash and treasure, how have I come out at the farther end of life with what some people take to be acceptable stories? I believe one thing holds it all together. Everything I've ever done was done with excitement, because I wanted to do it, because I loved doing it. (Location 379)
Do not, for the vanity of intellectual publications, turn away from what you are—the material within you which makes you individual, and therefore indispensable to others. (Location 398)
Tags: roze
To feed your Muse, then, you should always have been hungry about life since you were a child. If not, it is a little late to start. Better late than never, of course. Do you feel up to it? It means you must still take long walks at night around your city or town, or walks in the country by day. And long walks, at any time, through bookstores and libraries. And while feeding, How to Keep Your Muse is our final problem. The Muse must have shape. You will write a thousand words a day for ten or twenty years in order to try to give it shape, to learn enough about grammar and story construction so that these become part of the Subconscious, without restraining or distorting the Muse. By living well, by observing as you live, by reading well and observing as you read, you have fed Your Most Original Self. By training yourself in writing, by repetitious exercise, imitation, good example, you have made a clean, well-lighted place to keep the Muse. You have given her, him, it, or whatever, room to turn around in. And through training, you have relaxed yourself enough not to stare discourteously when inspiration comes into the room. You have learned to go immediately to the typewriter and preserve the inspiration for all time by putting it on paper. (Location 399)
have you trained well enough so you can say what you want to say without getting hamstrung? Have you written enough so that you are relaxed and can allow the truth to get out without being ruined by self-conscious posturings or changed by a desire to become rich? (Location 419)
Experience. Labor. These are the twin sides of the coin which when spun is neither experience nor labor, but the moment of revelation. (Location 421)
We all need someone higher, wiser, older to tell us we're not crazy after all, that what we're doing is all right. All right, hell, fine! (Location 452)