What's the best way to Write a BookWhat is the best way to write a book?
Before you know how it ends.
Dirty Love and The House of Sand and Fog writer Andre Dubus III discusses why the best work is when you "retreat". For example, John Irving is an example; he travels to sketch his books in anticipation, and when he puts the quill down on the page, he knows exactly what will be.
Meanwhile, other writers are feeling through it. Anything could have happened if they sat down at a desk: When they say things my personality has shown me the way, what do novel writers mean? However, my discussion with Andre Dubus III, whose new book Dirty Love will be published this weekend, dealt with the challenge and joy of un-predestinedriting.
What it means to write into the unfamiliar, how to do it and why authors should do it. Contains four interconnected short stories about loving and betraying a seaside city. He is the writer of The House of Sand and Fly (a National Book Award finalist), The Garden of Last Days and Townie.
André Dubus III: Years ago I was reading a book named Letter to a Fiction Writer, in which about 20 incumbent authors were asked to spread their best advices around the globe. If I don't tell my pupils otherwise, as a typing instructor, it is. They think, "I need this so that something else can occur.
It is possible to detect the wrong tone in this type of type. I was very confident when I started to write. I' ve written tales in the hope that they would say something themed or something that I would struggle with philosophy. It' from the outside to the inside instead of from the inside to the outside.
However, during my very early writings, certainly before I had released, I started learning to bring to life character when you retire. When you allow them to do what they will do, think and sense what they will think and sense, things begin to do.
All these years later, that's the excitement I write: to sense how things develop on their own. So, over the years, I've learnt to freely immerse myself in what's going on. Then what happens is that you begin to write something you don't even really want to write about. Under your crayon, things occur that you don't want or don't comprehend.
This way you can daydream by being inquisitive, by being curious enough to tell what lies in front of your narrow mind. "It'?s like riding a novel at nigh. What is on the side of the street? Whatather is it like? One must also be inquisitive, not only about perception and the actual words, but also about temper.
Another big line from Flannery O' Connor: "The author doesn't have to write about characters, but about them. Lettering with personality. It is with me every eight or nine or ten working with me when most of the whole typing session feel that I am only walking with the personality, a peculiar watcher in their breast while they are doing their work.
And I think that's why many authors write for that sense. I' m sure that's why I' m a writer. I' m gonna write a paper, and every other thing I say is strikethrough. By making a set of microphone selections while typing a phrase, I try to find the real thing that mirrors the characters reality.
Well, I have a few non-working years. I' d say most of the day. I' d say I have the feeling that I've had a good lesson every nine or ten workdays. and these are the times I write for. I' m one of those authors who keeps rewriting.
I can' t go on even if a person says something I don' t quite believe or has an idea I don' t quite buy. Revising means "seeing again" - well, how can you see it again when you saw it 10 nights ago? Then when you save and reread it, you actually forgetting something of what's happening in history.
You' re forgetting how difficult it was to write these 12 pages. It doesn't matter to me if I spend a year on pages 1 to 96. When I sense true power on page 93, and I think that should be page 1? An unmerciful auditor is in a much better place to write a really good book than one who doesn't have the courage.
This may be the difference between a really good book and a great book. I don't think it will ever happened unless you can cultivation two traits within yourself that William Stafford, the writer, teaches me when he said: "The writer must put himself in a state of susceptibility before he writes.
It' a very dangerous, frightening area, if you write like that. To be honest, I always seem so vivid when I write like this. But I also have to write in the hotel and airplanes and such.) The big ceremony is that I am reading some of my own music. I' m not a poet, but I reading a poem every day.
I' m gonna need 500 books of poems. I was just, you know, sprinkling floral leaves on the couch and putting on a little Luther Vandross. I' m writing every single composers' book, even on my birthdays (today is my birthdays, and I think I had a good session).
I' m reading some poetry, then I' m putting on my earphones and playing it. It is O'Connor: "There is a certain corn of foolishness that the author of the fictional can hardly do without, and that is the qualitiy of staring. "And she continues that the letter is awaiting.
You stare or wait for the picture or the instant or the scent or the sound and when you begin to write it, just believe me that things are happening. I think there is something out there - something enigmatic and unseen, but really great - coming from my day-to-day work.
This is exactly how I write, how I motivate those with whom I work to write: That which Scripture requires of us is the opposite of what US civilization demands of us. Maybe my mother's ill - she'll never see me publishing a book. I think it's really important to be clear about what's at risk for you.
I never think about my future when I'm in my crib. It' s not like I can write and get a book and get a payment and do another book trip - although these are good issues. Because I have an almost holy duty to those ghosts who came before: to be with them and write their history.