What Writers say about Writing

Writers say about writing

That'?s the author' s radar and all the great authors have had it. He is a concentrated form of thinking. Meanwhile, join me in this exploration of what famous writers have said about writing. From Molly Prentiss.

"Possession is a large part of being human and thus a large part of writing about being human.

Well-known writers talk about writing

Ever wonder how celebrity writers make such fine words come out of their pencils (or text processing programs)? How are they different from the others? I' ll show you what some of the most well-known writers of the last hundred years have said about writing.

There' s something magic about writing, you walk up to the loft at 12:00 and throw your skeletons and come down in the mornin' with a tale, but it's not like that. Writers say the hallmark that distinguishes winning writers from failing is work, not inherent ingenuity.

People with less writing experience can ascribe the skills of more seasoned writers to a magical talent, but in fact seasoned writers are qualified because they have worked on them longer. Everyone has the power to do the same, whether they want to make a writing carreer or simply become a better author in their selected work.

I' m writing almost every single pen. Sometimes I spend ten or eleven lessons writing. Others I may only be writing for three lessons. Really does depend on how quickly the idea comes up. He is a good author who is a regular reader, but he feels and adjusts to the circumstances. When you find that at a certain point in your life your idea just doesn't flow because you're exhausted or your head is on something else, it's okay to take a rest and come back to it later.

The downside is that if you give yourself a pause, if the idea doesn't flow, you have to plan more times when the idea flows to balance it out. of ruthlessness and tolerance. Feulkner urges writers to study cutting recklessly.

One old saw often used by writers is "Kill your darlings". "This is not an invite to assassination, but a memory that writers often have to let go of parts they like just because these parts don't go well with the other part. Writers must be cold and insentimental about their own writing.

By" architecture" I mean that Hemingway refers to the aspect of a play that is crucial for its design, such as focal point (Is the key point of each section clear, as well as the overall arguments of the work? Everything pertinent to the argument?), organisation (Are concepts summarised in sections with clear focal points?

We call such things "overriding concerns" in the writing environment because they are more important for the play's overall quality, just as the structure is more important than the colour of the colour used. It is not mainly or even largely a matter of getting words moved or selecting the right words when writing.

A typeface's qualities depend more on the greater structure than on small, surface adornments such as the use of a more demanding gloss. Nearly all good writing begins with horrible first effort. You' re trying to be more specific about what you have to say. It is a renowned writer's conceptualisation of the phases of the writing proces.

In the first stage it is about creating an idea; in the second stage it is about refine and refine these idea; in the third stage it is about fine-tuning the detail by processing at typesetting time. Whilst each author has his own methodologies within each of these stages, most are following some versions of this fundamental evolution.

When your idea changes, you need to put the final touch on it again. There are two kinds of writers, the Architekten and the Gärtner. It' all planned by the architecture team in advance, like an architectural team who builds a home. You know how many rooms will be in the home, what kind of rooftop they will have, where the wiring will run, what kind of tinsmithing there will be.

Somehow they know what it is; they know whether they have grown a fancy or mysterious or whatever. Martin, however, speaks of two different ways of composition. A number of authors work better by designing a play using outlining, contour or conceptional map design before designing it.

Some authors work better by designing the play without much scheduling. To this kind of author, the first design acts as a kind of brain storming tutorial - they have to type it to see what it's really about. However, after the design they still have to go back and see if the "architecture" of the play is sounds - that it has a logic texture, abundant evolution, clear focusing etc..

Horticulturists" also have to become "architects" at some point - it comes later for them. It is important that you give the design enough before returning to it to work on. In order to get closer to a bit of writing with the reckless editorial mindset, it is useful to get some space from it.

That means you have to begin working on a text early, well before the due date, to give it a chance to be seated before you begin to edit it. Perhaps you will come back to this and be amazed at what you have achieved. Not even well known writers have the feeling that their writing does not correspond to their own visions.

A paradox of writing is that the better you get at it, the more challenging your visions become, so that it always looks like you're missing out. That is an unhappy but also encouraging fact in writing. As soon as you have realized this, you can let go of your imperfectionism and make something that is the best approach to the visions you can accomplish in this age.

First and foremost Da Vinci was a fine artiste, not a novelist, but his quote also appeals to writers. There is no blanket for the calligraphy - the more you work on it, the better it will be. Eventually the author has to say that it is "good enough" (according to her own standards, or to meet an outside standards or deadline) and stop working on it.

Everyone passes a thousand stories every single one. Good writers are the ones who see five or six of them. As Orson Scott Card probably talked about destiny, his words also applied to other ways of writing. The point is, I think, that the best authors are the most attentive ones who look closely (at papers, talks, everyday experiences ) and note interesting things about their topic.

Anybody who is modestly acquainted with the rigour of the work need not tell the tale in detail; how he composed and it seemed to be good; reading and it seemed hideous; correcting and torn; excised; put in; was in a state of exasis; desperate; had his good evenings and evil evenings; snapped for inspiration and loses it; saw his books simply before him and it disappeared;

Well-known writers are dissatisfied with their endeavors and are experiencing ups and downs as they write. It' a fight for everyone; if it just felt like it, you don't do it right. One of Virginia Woolf's most outstanding authors fought with emotions of inferiority. "Inspiring writing from quotes by renowned authors.

" WritersDigest.com. Writer's Digest, n.d. Web. "Purpose and process: One reader for writers. "Quotations about the writing proces. "Write quotations.

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