As I mentioned last week, this month I’m sharing a few quotes I came across in Originals: How Non-conformists Move the World, by Adam Grant (2016), a look at how individuals bring new ideas to fruition — or fail to do so — particularly in organizations.
“No surprise for the writer, no surprise for the reader. When I begin a poem I don’t know—I don’t want a poem that I can tell was written toward a good ending. … You’ve got to be the happy discoverer of your ends.”
– Robert Frost, American poet, 1874-1963
Last month, during my trip to Seattle to celebrate the launch of CHAI ANOTHER DAY, the 4th Spice Shop mystery, I stayed with an old friend from college who had just celebrated a birthday. Her husband arranged a surprise party during my visit, a lovely Sunday morning brunch in their back garden. One of the men at the gathering recommended Originals: How Non-conformists Move the World, by Adam Grant (2016), a look at how individuals bring new ideas to fruition — or fail to do so — particularly in organizations. But though it isn’t focused on artistic creativity, it did include some quotes I want to share with you this month.
“Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.”
– Scott Adams, cartoonist and author, creator of Dilbert and other works
“Lean back and ask: ‘What would it be like to live my character’s life hour by hour, day by day?’ While memory views whole chunks of life, imagination takes fragments, slivers of dream and chips of experience that seem unrelated, then finds hidden connections and merges them into a whole.”
— Robert McKee, screenwriting teacher and author of Story
(photo: The Bovine Bibiliophile, at The Bookstore, Dillon, MT)
“Fiction is to the grown man what play is to the child; it is there that he changes the atmosphere and tenor of his life.”
Robert Louis Stevenson, Learning to Write 60 (1888; repr. 1920).
“Here’s to books, the cheapest vacation you can buy.”
– Charlaine Harris, American novelist and short story author
“The English language has been quite needlessly and foolishly complicated by lawyers, politicians, tradesmen, bad poets, and a whole host of woolly-minded people.”
— S.P.B. Mais, The Writing of English 235 (1935)
(Via Bryan Garner’s blog on modern American usage)
“The best writers have many ideas and hence hold them cheap, while the poor writers have few ideas and hence cherish them.”
— Walter B. Pitkin, The Art of Useful Writing 18 (1940)
(Via Bryan Garner’s blog on Modern American Usage)
“What advice do you have for beginning and early-stage writers?
I know the frustration which never goes away. You want so much to sit down and get it right. You have to learn to tolerate that frustration. You have to be patient and just keep writing. You’re only going to learn it by doing it and by reading. You read and you write, and you read and you write. That’s the hard part for beginning writers: having to accept that it may be a very long process. Also you have to be willing to expose yourself – to put your true emotions in your work, or it will be flat. It really won’t be something people want to read or find any comfort in reading because it won’t be conveying to them some aspect of the human condition that they’ve experienced but don’t know they’ve experienced until they read it, and then they’ll say, “Oh, I’ve felt that.”
– novelist and short story writer Elizabeth Strout, in The Writer, Aug 2013
“People say that what we’re all seeking is a meaning for life. I don’t think that’s what we’re really seeking. I think that what we’re seeking is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our own innermost being and reality, so that we actually feel the rapture of being alive.”
— Joseph Campbell, American author and professor
I’m reflecting this month on the role of emotion in art, primarily on the page. Not portraying characters in the midst of an emotional experience, or not just that, but creating an emotional experience for the reader.
My friend, Rachel “Rusti” Warner, a well-known tonalist painter who lives in our valley, often talks about emotion on the canvas, and quotes her teacher, painter and print-maker Russell Chatham. Art, he said, as opposed to a well-made picture, is able “to bring forth the tears.” Or as she puts it, it should communicate more than an excitement or response to the object.
And on the page, too. As my teacher, Don Maass, writes in The Emotional Craft of Fiction (2016), “Why is it important to look at fiction writing through the lens of emotional experience? Because that’s the way readers read. They don’t so much read as respond. They do not automatically adopt your outlook and outrage. They formulate their own. You are not the author of what readers feel, just the provocateur of those feelings. You may curate your characters’ experiences and put them on display, but the exhibit’s meaning is different in thousands of ways for thousands of different museum visitors, your readers. …
When readers feel strongly, their hearts are open. Your stories can not only reach them for a moment, but they can change them forever.”
Bitterroot Winter by Rachel Warner (2017), collection of the author