WRITERS ON WRITING; For Authors, Fragile Ideas Need Loving Every Day
Published: July 3, 2000
If you want to be a writer, you have to write every day. The consistency, the monotony, the certainty, all vagaries and passions are covered by this daily reoccurrence.
You don’t go to a well once but daily. You don’t skip a child’s breakfast or forget to wake up in the morning. Sleep comes to you each day, and so does the muse.
She comes softly and quietly, behind your left ear or in a corner of the next room. Her words are whispers, her ideas shifting renditions of possibilities that have not been resolved, though they have occurred and reoccurred a thousand times in your mind. She, or it, is a collection of memories not exactly your own.
These reminiscences surface in dreams or out of abstract notions brought on by tastes and excitations, failures and hopes that you experience continually. These ideas have no physical form. They are smoky concepts liable to disappear at the slightest disturbance. An alarm clock or a ringing telephone will dispel a new character; answering the call will erase a chapter from the world.
Our most precious ability, the knack of creation, is also our most fleeting resource. What might be fades in the world of necessity.
How can I create when I have to go to work, cook my dinner, remember what I did wrong to the people who have stopped calling? And even if I do find a moment here and there — a weekend away in the mountains, say — how can I say everything I need to say before the world comes crashing back with all of its sirens and shouts and television shows?
”I know I have a novel in me,” I often hear people say. ”But how can I get it out?”
The answer is, always is, every day.
The dream of the writer, of any artist, is a fickle and amorphous thing. One evening you’re remembering a homeless man, dressed in clothes that smelled like cheese rinds, who you once stood next to on a street corner in New York. Your memory becomes a reverie, and in this daydream you ask him where he’s from. With a thick accent he tells you that he was born in Hungary, that he was a freedom fighter, but that now, here in America, his freedom has deteriorated into the poverty of the streets.
You write down a few sentences in your journal and sigh. This exhalation is not exhaustion but anticipation at the prospect of a wonderful tale exposing a notion that you still only partly understand.
A day goes by. Another passes. At the end of the next week you find yourself in the same chair, at the same hour when you wrote about the homeless man previously. You open the journal to see what you’d written. You remember everything perfectly, but the life has somehow drained out of it. The words have no art to them; you no longer remember the smell. The idea seems weak, it has dissipated, like smoke.
This is the first important lesson that the writer must learn. Writing a novel is gathering smoke. It’s an excursion into the ether of ideas. There’s no time to waste. You must work with that idea as well as you can, jotting down notes and dialogue.
The first day the dream you gathered will linger, but it won’t last long. The next day you have to return to tend to your flimsy vapors. You have to brush them, reshape them, breathe into them and gather more.
It doesn’t matter what time of day you work, but you have to work every day because creation, like life, is always slipping away from you. You must write every day, but there’s no time limit on how long you have to write.
One day you might read over what you’ve done and think about it. You pick up the pencil or turn on the computer, but no new words come. That’s fine. Sometimes you can’t go further. Correct a misspelling, reread a perplexing paragraph, and then let it go. You have re-entered the dream of the work, and that’s enough to keep the story alive for another 24 hours.
The next day you might write for hours; there’s no way to tell. The goal is not a number of words or hours spent writing. All you need to do is to keep your heart and mind open to the work.
Nothing we create is art at first. It’s simply a collection of notions that may never be understood. Returning every day thickens the atmosphere. Images appear. Connections are made. But even these clearer notions will fade if you stay away more than a day.
Reality fights against your dreams, it tries to deny creation and change. The world wants you to be someone known, someone with solid ideas, not blowing smoke. Given a day, reality will begin to scatter your notions; given two days, it will drive them off.
The act of writing is a kind of guerrilla warfare; there is no vacation, no leave, no relief. In actuality there is very little chance of victory. You are, you fear, like that homeless man, likely to be defeated by your fondest dreams.
But then the next day comes, and the words are waiting. You pick up where you left off, in the cool and shifting mists of morning.
Writers on Writing