Writing is something…that happens, quote by Charles Bukowski

Writing is something that you don’t know how to do. You sit down and it’s something that happens, or it may not happen. So, how can you teach anybody how to write? It’s beyond me, because you yourself don’t even know if you’re going to be able to…Sometimes I’ll sit at that typewriter for fifteen minutes, you know. I don’t go up there to write. The typewriter’s up there. If it doesn’t start moving, I say, well this could be the night that I hit the dust.” CHARLES BUKOWSKI

Illustration: Portrait of Charles Bukowski by Bradley Wind (ALL RIGHTS RESERVED). Visit the artist at bradleywind.com.

Nothing to do all day and night but write, quote by John Fante

The good days, the fat days, page upon page of manuscript; prosperous days, something to say…the pages mounted and I was happy. Fabulous days, the rent paid, still fifty dollars in my wallet, nothing to do all day and night but write and think of writing; ah, such sweet days, to see it grow, to worry for it, myself, my book, my words, maybe important, maybe timeless, but mine nevertheless, the indomitable Arturo Bandini, already deep into his first novel. “

From Chapter Sixteen of Ask the Dust a novel by John Fante, originally published in 1939.

Photo: Vintage notecard found on Flickr.

Magic, poem and drawing by Shel Silverstein

MAGIC 
by Shel Silverstein

Sandra’s seen a leprechaun,
Eddie touched a troll,
Laurie danced with witches once,
Charlie found some goblins’ gold.
Donald heard a mermaid sing,
Susy spied an elf,
But all the magic I have known
I’ve had to make myself.

air and light and time and space, poem by Charles Bukowski

air and light and time and space
by Charles Bukowski

“— you know, I’ve either had a family, a job, something
has always been in the
way
but now
I’ve sold my house, I’ve found this
place, a large studio, you should see the space and
the light.
for the first time in my life I’m going to have a place and the time to
create.”

no baby, if you’re going to create
you’re going to create whether you work
16 hours a day in a coal mine
or
you’re going to create in a small room with 3 children
while you’re on
welfare,
you’re going to create with part of your mind and your
body blown
away,
you’re going to create blind
crippled
demented,
you’re giong to create with a cat crawling up your
back while
the whole city trembles in earthquake, bombardment,
flood and fire.

baby, air and light and time and space
have nothing to do with it
and don’t create anything
except maybe a longer life to find
new excuses
for.

Illustration: The Art Warriors, ALL RIGHTS RESERVED

Introduction to Poetry, poem by Billy Collins

INTRODUCTION TO POETRY
by Billy Collins

I ask them to take a poem
and hold it up to the light
like a color slide
 
or press an ear against its hive.
 
I say drop a mouse into a poem
and watch him probe his way out,
 
or walk inside the poem’s room
and feel the walls for a light switch.
 
I want them to waterski
across the surface of a poem
waving at the author’s name on the shore.
 
But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.
 
They begin beating it with a hose
to find out what it really means.

You Cannot Lasso the Muse, Quote by Carol Muske-Dukes

 

“I think lines of poetry come to you whenever they come. You could be waiting for the dentist and suddenly you’ll get an image or a line and you write it down. I write on the backs of envelopes, parking tickets—whatever I have at hand because you cannot lasso the muse.

I really believe you can’t force a lot of this. Now, I passionately believe in revision, and that you have to try to write in a disciplined way as much as you can. But I do think there are moments that you suddenly get something, given to you as a gift from the imagination, and you have to honor those moments as well.”  

CAROL MUSKE-DUKES, former California Poet Laureate and professor of English and Creative Writing at the University of Southern California

Stephen King on How a Daily Routine Helps Put You in the Writer’s Trance

In a CNN interview, Stephen King gives concise answers to a variety of subjects — including his writing routine, which he says helps him get into his daily writer’s trance. Here’s the quote:

I have a routine because I think that writing is self-hypnosis and you fall into kind of a trance if you do the same passes over and over.”

Watch the video at youtube.com.

John Gardner Discusses the Writer’s Trance (Fictive Dream)

“In the writing state—the state of inspiration—the fictive dream springs up fully alive: the writer forgets the words he has written on the page and sees, instead, his characters moving around their rooms, hunting through cupboards, glancing irritably through their mail, setting mousetraps, loading pistols.

The dream is as alive and compelling as one’s dreams at night, and when the writer writes down on paper what he has imagined, the words, however inadequate, do not distract his mind from the fictive dream but provide him with a fix on it, so that when the dream flags he can reread what he’s written and find the dream starting up again.

This and nothing else is the desperately sought and tragically fragile writer’s process: in his imagination, he sees made-up people doing things—sees them clearly—and in the act of wondering what they will do next he sees what they will do next, and all this he writes down in the best, most accurate words he can find, understanding even as he writes that he may have to find better words later, and that a change in the words may mean a sharpening or deepening of the vision, the fictive dream or vision becoming more and more lucid…” 

JOHN GARDNER, The Art of Fiction, available at Amazon.com

Ray Bradbury’s Thoughts on Writing

“Just write every day of your life. Read intensely. Then see what happens. Most of my friends who are put on that diet have very pleasant careers.”

“I never consciously place symbolism in my writing…The best symbolism is always unsuspected and natural. During a lifetime, one saves up information which collects itself around centers in the mind; these automatically become symbols on a subliminal level and need only be summoned in the heat of writing.”

“I believe that eventually quantity will make for quality. How so? Quantity gives experience. From experience alone can quality come. All arts, big and small, are the elimination of waste motion in favor of the concise declaration. The artist learns what to leave out…”

“Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all Plot ever should be. It is human desire let run, running, and reaching a goal. It cannot be mechanical. It can only be dynamic.”

“The only good writing is intuitive writing. It would be a big bore if you knew where it was going. It has to be exciting, instantaneous and it has to be a surprise. Then it all comes blurting out and it’s beautiful. I’ve had a sign by my typewriter for 25 years now which reads, ‘DON’T THINK!’”

“I absolutely demand of you and everyone I know that they be widely read in every damn field there is; in every religion and every art form and don’t tell me you haven’t got time! There’s plenty of time. You need all of these cross-references. You never know when your head is going to use this fuel, this food for its purposes.”

“I always say to students, give me four pages a day, every day. That’s three or four hundred thousand words a year. Most of that will be bilge, but the rest …? It will save your life!”

Photo: Ray Bradbury (1920-2012) in his 20s.

Where (and How) Ray Bradbury Found Inspiration

 

A few years before his death in 2012 at age 91, Ray Bradbury shared his thoughts about his life and his writing with interviewer Sam Weller in The Paris Review (Summer 2012). Here are excerpts from the interview that focus on Bradbury’s sources of inspiration and techniques for getting inspired. 

WRITERS WHO INSPIRED:

I used to study Eudora Welty. She has the remarkable ability to give you atmosphere, character, and motion in a single line. In one line! You must study these things to be a good writer. Welty would have a woman simply come into a room and look around. In one sweep she gave you the feel of the room, the sense of the woman’s character, and the action itself. All in twenty words. And you say, How’d she do that? What adjective? What verb? What noun? How did she select them and put them together?

I was an intense student. Sometimes I’d get an old copy of [Thomas] Wolfe and cut out paragraphs and paste them in my story, because I couldn’t do it, you see. I was so frustrated! And then I’d retype whole sections of other people’s novels just to see how it felt coming out. Learn their rhythm. 

JUMPSTARTING THE IMAGINATION:

…in the old days I knew I had to dredge my subconscious…I did it by making lists of nounsand then asking, What does each noun mean? …The night. The crickets. The train whistle. The basement. The attic. The tennis shoes. The fireworks…Then, when you get the list down, you begin to word-associate around it. You ask, Why did I put this word down? What does it mean to me? Why did I put this noun down and not some other word? Do this and you’re on your way to being a good writer…Make a list of ten things you hate and tear them down in a short story or poem. Make a list of ten things you love and celebrate them. 

...I started to write short, descriptive paragraphs, two hundred words each, and in them I began to examine my nouns. Then I’d bring some characters on to talk about that noun and that place, and all of a sudden I had a story going. I used to do the same thing with photographs that I’d rip out of glossy magazines. I’d take the photographs and I’d write little prose poems about them.

…When I look at the paintings of Edward Hopper, it does this. He did those wonderful townscapes of empty cafes, empty theaters at midnight with maybe one person there. The sense of isolation and loneliness is fantastic. I’d look at those landscapes and I’d fill them with my imagination…