I want to Write a novel

I' d like to write a novel.

""There are three rules for writing a novel. I would like to tell you what works for me in this article. I have published six novels and won about a dozen prizes for my writing. It is probably one of the most difficult languages when it comes to fiction. First-rate writers know how to be a novelist.

So, you want to be a novelist? Important hints for prospective authors | B├╝cher

However, Rilke was accepted by a young author, and he corresponding with Franz Xaver Kappus in 10 epistles over a period of six years. Rilke's advices on religious, loving, feminist, sexual, artistic, loneliness and patient, but also on the poet's lifestyle and how these things could influence the words on the page.

Everyone who has ever felt the need to compose knows the quiet times. I' ve met many such persons - and many such lessons - during my scriptwriting and schooling. Stubbornness to comprehend that it will take to be successful. They must be willing to have two or more conflicting notions in their hand at the same moment.

This should suggest that the worid will never be the same again. This should rush your readers into something pressing, interesting, informational. This should advance your history, your poetry, your play. Don't put the whole wide globe in your first page. Allow history to unfurl. Simultaneously, don't worry if you don't do it right the first heck.

Like the first move, the first line is only the first of many, but it determines the form of what is to come. Don't spell out what you know, but what you want to know. An author is an investigator. You' ve got to push yourself out, young author. Your only real way to extend your life is to be different beyond ourselves.

Just think, the state of the art is so much more than a history. At the end of the day, your first-class instructor was right: "We can only actually do what we know. However, if we are writing towards what we don't know, we will find out what we knew but didn't quite know yet. It'?s far too simple an alibi that you have writer?s death lock.

You' re gonna have to be in that seat fighting the void. You' ve got to plan the schedule. Writers are not someone who thinks abstractedly about letters, talking about them, planning, dissecting or even worshipping them: a novelist is the one who puts his ass in a stool when the last thing he wants is his ass in a poo.

A good writer will take the daylight out of your body. Few runners discuss it, but authors must have the endurance of world-class sports. No word on the page is better than no amount of page wasted. You just keep your ass in the stool. Ass in a stool.

Ass in a stool. To write a personality into being is like to meet someone you want to fell in lov. They do not (yet) bother about the facts of your lifetime. We' re drawn to a single instant in history - a unique instant of flow or transformation or breakdown - not great biographies.

Readers must quickly become in bitterness with your character (or even quickly become aware of how much they can be hated). Do it traumatically, make it sad, make it cheerful, it doesn't play a role - just let your readers take charge of the bodily structure that your words create, the one behind the world. Then later in history we can sit down with them and get to know them in a broader way.

We can also take on well-known historical personalities and redesign them. One way or the other, we have a duty to do it. If you want to quit the site, make them remain a set longer. That'?s what true love is all about. Your own existence.

You try to write a call between three, four, five persons. Let actions take place within the conversations. If you use dialects, popes or Dublinese, you must recognize that there is a readership at the end of the phrase. Don't take her out of history. Your history takes on a form that has been gradually constructed since its founding.

A number of authors try to imagine the texture beforehand, and they form the narrative to suit it, but this is so often a pitfall. Do not try to put your history into a pre-conceived framework. The right texture reflects the contents of the narrative it wants to tell. The game contains its character and drives them forward at the same one.

Wonder if it would feel right to tell the tale in one go, or if it should be split into parts, or if it should have more than one voice or even several different genres. You' re stumbling through the darkness trying out new things. In a good plot, Plot fades into the background, because what happens is never as interesting as what happens.

As it happens, it happens in the way speech catches it and how our imagination puts this speech into practice. To stop it. Two or three places at once. Anybody can tell a great tale, yes, but not everyone can tell you something nice. We need motivations in the movie industry that lead to actions, but in writing we need contradictions that lead to actions, yes, but also to inactivity.

There is nothing more efficient than your personality, who is currently paralyzed by the world. There is scarcely any visible storyline in the greatest novel ever published. Nevertheless, this does not take away the fact that every history that has ever been narrated has some kind of action (especially Ulysses, who may have more action than any other). But, on the other hand, a set can be overused.

A good piece of vocabulary can decelerate a phrase - or even a barrow. Occasionally we type a phrase that is not right, but is singing. Authors do not know it, but rather sense the language. Nearly all good writings, including poesy, are based on research. And we must know the outside of our own known outside of it.

To be able to make a jump into a lifetime or a period or a geography that is not immediately ours. We will often want to choose from sex, breed and age. Yes, Google is helping, but the worid is so much lower than Google. In fact, a searchengine cannot cover all the galleries in the real book worlds in which they are living, breathing and arguing with each other with a candlestick.

When you want to get to know a different kind of lifestyle than your own, you should try to encounter it at least half way. Willam Gass - the US novelist who says very nicely that a novelist is alone with anything that could possibly go wrong - once proposed, while calling Maupassant, that we should never bring up an ash-tray, unless we are quickly able to make him the only one in the whole wide oceans.

The failures tell you to make a greater and a better history. Sometimes, young author, you just have to have the balls to mop the whole shale. You may have followed the false path. It is often not until a long time in history that one hears the real part. One of the most cathartic of my letter was when I wasted 18 month of work.

However, something inside you knows - it just knows - that everything you have been writing so far was just a prep for what you are about to do. And Gogol said that the last line of every history: "I'm sorry. "Nothing in your world ever really starts in one place, and nothing ever really ends.

Frequently the narrative can end several sections before, so find the place where you can use your pen. Printout several version of the last movement and join them. Do you trust that your readers have already gone on a long trip with you. You already know it' s getting late.

They want the readers to recall that. I know you want her to be different. Or, even better, wanting to make a difference. If possible, try to end in cement with an act, a motion to move the readers forward. Don't ever overlook the fact that a tale begins long before the beginning and ends long after the end.

Let your readers go out of your last line and into their own fantasy. That is the real talent of the letter. - Letter to a young writer:

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