Rules for Writing BookBook writing rules
Like writing a book. Authors' rules 8: all writing is re-writing
I' m happy to give a workshop for writing creatively. Are what I wrote as horrible as I think it is? In the course of our workshop we will be sharing many precious experience. We are confident and confident in sharing them: what happens in the workshop remains in the workshop. It' also a'something' that always signals the wrong sounds that may have snuck in under our author's camera.
There is also the feeling of common easing when we talk without a certain amount of prejudice about the fact that, in addition to all the "rules" that ensure good writing, there is also a spell that we are ignoring at our own risk. Especially for the first author there is the seduction to understand how important this is.
We' re so excited about what we've been writing that we show our work to others to see its enthusiastic resonance and be recognized with their consent. Disapproval or even apathy at an early state is a freeze that harms the most brittle buds of literary trust. On the other side of this particularly sensitive mint is the harm that such an early division can do to the magical power of the creation game.
But I know for sure that the more an author speaks of a work-in-progress, the more it dissolves. That book never happens. Cause a novelist can verbatim excuse herself from her own history. It is as good a time as any to raise the fact that we all know that, despite the heading "Rule No 8", there are no rules.
Writing is all re-writing. It' the task of every first design to be horrible. It' a fight to catch him, to cultivate him, to allow him to evolve his own form as the author travels through the organical processes that form the nucleus of creation. That is the old, dependable workshop issue.
Each book is different, as are all poems, plays, memoirs, essays, non-fiction. One thing that stays the same is the need to design and redesign the original work until it begins to come closest to the author's concept, which is imbedded in the author's own creativity. From my own experiences there are many and significant changes, for example from design 1 to design 7.
I' m often trapped near draft 7. There may be small changes from draft 10 to draft 13 - when I need so many for this particular work - such as the removal or enrichment of the dialog, or giving a side act of a broader part. I rewrite over and over again.
It' not by chance that publishing houses include a term in an authoring agreement that charges them dirty profits for too many changes made too latecomer. They, too, realize that all writing is a rewrite - but at some point that has to stop.