Ursula K. Le Guin On How To Become A Writer.
Ursula K. Le Guin on How to Become a Writer.
How do you become a writer? Answer: you write.
It’s amazing how much resentment and disgust and evasion this answer can arouse. Even among writers, believe me. It is one of those Horrible Truths one would rather not face.
The most frequent evasive tactic is for the would-be writer to say, But before I have anything to say, I must get experience.
Well, yes; if you want to be a journalist. But I don’t know anything about journalism, I’m talking about fiction. And of course fiction is made out of experience, your whole life from infancy on, everything you’ve thought and done and seen and read and dreamed. But experience isn’t something you go and get—it’s a gift, and the only prerequisite for receiving it is that you be open to it. A closed soul can have the most immense adventures, go through a civil war or a trip to the moon, and have nothing to show for all that “experience”; whereas the open soul can do wonders with nothing. I invite you to meditate on a pair of sisters. Emily and Charlotte. Their life experience was an isolated vicarage in a small, dreary English village, a couple of bad years at a girls’ school, another year or two in Brussels, which is surely the dullest city in all Europe, and a lot of housework. Out of that seething mass of raw, vital, brutal, gutsy Experience they made two of the greatest novels ever written: Jane Eyre and Wuthering Heights.
Now, of course they were writing from experience; writing about what they knew, which is what people always tell you to do; but what was their experience? What was it they knew? Very little about “life.” They knew their own souls, they knew their own minds and hearts; and it was not a knowledge lightly or easily gained. From the time they were seven or eight years old, they wrote, and thought, and learned the landscape of their own being, and how to describe it. They wrote with the imagination, which is the tool of the farmer, the plow you plow your own soul with. They wrote from inside, from as deep inside as they could get by using all their strength and courage and intelligence. And that is where books come from. The novelist writes from inside.
I’m rather sensitive on this point, because I write science fiction, or fantasy, or about imaginary countries, mostly—stuff that, by definition, involves times, places, events that I could not possibly experience in my own life. So when I was young and would submit one of these things about space voyages to Orion or dragons or something, I was told, at extremely regular intervals, “You should try to write about things you know about.” And I would say, But I do; I know about Orion, and dragons, and imaginary countries. Who do you think knows about my own imaginary countries, if I don’t?
But they didn’t listen, because they don’t understand, they have it all backward. They think an artist is like a roll of photographic film, you expose it and develop it and there is a reproduction of Reality in two dimensions. But that’s all wrong, and if any artist tells you, “I am a camera,” or “I am a mirror,” distrust them instantly, they’re fooling you, pulling a fast one. Artists are people who are not at all interested in the facts—only in the truth. You get the facts from outside. The truth you get from inside.
OK, how do you go about getting at that truth? You want to tell the truth. You want to be a writer. So what do you do?
You write.
Honestly, why do people ask that question? Does anybody ever come up to a musician and say, Tell me, tell me—how should I become a tuba player? No! It’s too obvious. If you want to be a tuba player you get a tuba, and some tuba music. And you ask the neighbors to move away or put cotton in their ears. And probably you get a tuba teacher, because there are quite a lot of objective rules and techniques both to written music and to tuba performance. And then you sit down and you play the tuba, every day, every week, every month, year after year, until you are good at playing the tuba; until you can—if you desire—play the truth on the tuba.
It is exactly the same with writing. You sit down and you do it, and you do it, and you do it, until you have learned how to do it.
Of course, there are differences. Writing makes no noise, except groans, and it can be done anywhere, and it is done alone.
It is the experience or premonition of that loneliness, perhaps, that drives a lot of young writers into this search for rules. I envy musicians very much, myself. They get to play together, their art is largely communal; and there are rules to it, an accepted body of axioms and techniques, which can be put into words or at least demonstrated, and so taught. Writing cannot be shared, nor can it be taught as a technique, except on the most superficial level. All a writer’s real learning is done alone, thinking, reading other people’s books, or writing—practicing. A really good writing class or workshop can give us some shadow of what musicians have all the time—the excitement of a group working together, so that each member outdoes himself—but what comes out of that is not a collaboration, a joint accomplishment, like a string quartet or a symphony performance, but a lot of totally separate, isolated works, expressions of individual souls. And therefore there are no rules, except those each individual makes up.
I know. There are lots of rules. You find them in the books about The Craft of Fiction and The Art of the Short Story and so on. I know some of them. One of them says: Never begin a story with dialogue! People won’t read it; here is somebody talking and they don’t know who and so they don’t care, so—Never begin a story with dialogue.
Well, there is a story I know, it begins like this:
“Eh bien, mon prince! so Genoa and Lucca are now no more than private estates of the Bonaparte family!”
It’s not only a dialogue opening, the first four words are in French, and it’s not even a French novel. What a horrible way to begin a book! The title of the book is War and Peace.
There’s another Rule I know: introduce all the main characters early in the book. That sounds perfectly sensible, mostly I suppose it is sensible, but it’s not a rule, or if it is somebody forgot to tell it to Charles Dickens. He didn’t get Sam Weller into The Pickwick Papers for ten chapters—that’s five months, since the book was coming out as a serial in installments.
Now, you can say, All right, so Tolstoy can break the rules, so Dickens can break the rules, but they’re geniuses; rules are made for geniuses to break, but for ordinary, talented, not-yet-professional writers to follow, as guidelines.
And I would accept this, but very very grudgingly, and with so many reservations that it amounts in the end to nonacceptance. Put it this way: if you feel you need rules and want rules, and you find a rule that appeals to you, or that works for you, then follow it. Use it. But if it doesn’t appeal to you or doesn’t work for you, then ignore it; in fact, if you want to and are able to, kick it in the teeth, break it, fold staple mutilate and destroy it.
See, the thing is, as a writer you are free. You are about the freest person that ever was. Your freedom is what you have bought with your solitude, your loneliness. You are in the country where you make up the rules, the laws. You are both dictator and obedient populace. It is a country nobody has ever explored before. It is up to you to make the maps, to build the cities. Nobody else in the world can do it, or ever could do it, or ever will be able to do it again.
Excerpted from THE LANGUAGE OF THE NIGHT by Ursula K. Le Guin. Copyright © 1989 by Ursula K. Le Guin.
I recommend Le Guin's book about writing, Steering the Craft:
More Posts from Sparklingsilvermagnolias and Others
I hate the “Thoreau’s mom did his laundry” criticism so much, it drives me crazy.
Henry Thoreau did not go to Walden Pond because he thought it would be a fun adventure. He went into the woods because he was deeply depressed and burnt out. He was running from the horror of his brother and best friend recently dying in his arms, and the haunting memory of causing the Fairhaven Bay fire. His friend Ellery Channing literally gave him the ultimatum of either taking some time off to write and think, or else be institutionalized.
I think Thoreau’s mother saw her depressed son choosing to retreat into a small cabin in the woods, and was worried about him. Of course she did his laundry - just as Ralph Waldo Emerson probably brought him firewood and bread. These were not chores of obligation to support a “great” man, but services of love to help their deeply depressed 28yo son and friend.
And if you ask me, there’s a lesson in that - to “suck out the marrow of life” and “live deliberately,” one must also accept help offered from the people in your life who love you. There is no true transcendentalism or individualism without love and friendship behind it.
also a poem from the new, unreleased collection. very possibly my own all-time favourite.
unbothered character dialogue + prompts ⋆.ೃ࿔*:･
@celestialwrites for more!!
♡ “breathing air that you contaminate deeply unsettles me.”
♡ constantly putting their feet on their superior’s desk/table.
♡ “please remind me why you are relevant.”
♡ always commenting at the worst moment possible.
♡ “life was far more peaceful when i thought you were dead.”
♡ when someone is yelling at them, the character pulls out a book and just starts reading.
♡ “i gave my last fuck two decades ago, you’re going to need a time machine to find it.”
♡ sees a dead body and just sighs, turns around and goes to the breakfast diner across the street.
♡ “if he opens his mouth again i’m calling the cops for a noise disturbance.”
♡ has one hobby that they get really prickly about if people interrupt or make fun of it.
♡ “when did you finally decide to be helpful?”
♡ sees another character having a panic attack and asks them to quiet down so they can finish their crossword puzzle.
♡ “maybe if you were as tall as your ego you would have seen it.”
♡ other characters having to remind them to either pretend to care or not speak at all during important meetings/situations.
♡ “i could bring the heavens crashing down, remember that the next time you interrupt my coffee break.”
♡ being the key part of the team’s plan but will continuously sleep in.
REBLOG TO SUPPORT YOUR LOCAL WRITERS!!<3
The funny thing with abusive misogynists is that however much they hate women who defy them, they always seem to find ways to absolutely loathe the obedient ones
Writing References: Character Development
50 Questions ⚜ Backstory ⚜ Character-driven Story
Basics: How to Write a Character ⚜ A Story-Worthy Hero
Basics: Character-Building ⚜ Character Creation
Types of Characters: Key Characters ⚜ Literary Characters ⚜ Flat & Round Characters ⚜ Morally Grey ⚜ Narrators ⚜ Allegorical Characters ⚜ Archetypes ⚜ Stereotypical Characters
Worksheets: Backstory ⚜ Character ⚜ Kill your Characters ⚜ Antagonist; Villain; Fighting ⚜ Change; Adding Action; Conflict ⚜ Character Sketch & Bible ⚜ Protagonist & Antagonist ⚜ Name; Quirks; Flaws; Motivation ⚜ "Interviewing" your Characters ⚜ "Well-Rounded" Character
Personality Traits
5 Personality Traits (OCEAN) ⚜ 16 Personality Traits (16PF)
600+ Personality Traits ⚜ 170 Quirks
East vs. West Personalities ⚜ Trait Theories
Tips/Editing
Character Issues ⚜ Character Tropes for Inspiration
"Strong" Characters ⚜ Unlikable to Likable
Tips from Rick Riordan
Writing Notes
Binge ED ⚜ Hate ⚜ Love ⚜ Identifying Character Descriptions
Childhood Bilingualism ⚜ Children's Dialogue ⚜ On Children
Culture ⚜ Culture: Two Views ⚜ Culture Shock
Dangerousness ⚜ Flaws ⚜ Fantasy Creatures
Emotional Intelligence ⚜ Genius (Giftedness)
Emotions (1) (2) ⚜ Anger ⚜ Fear ⚜ Happiness ⚜ Sadness
Emotional Universals ⚜ External & Internal Journey
Goals & Motivations ⚜ Grammar Development ⚜ Habits
Facial Expressions ⚜ Jargon ⚜ Swearing & Taboo Expressions
Happy/Excited Body Language ⚜ Laughter & Humor
Health ⚜ Frameworks of Health ⚜ Memory
Mutism ⚜ Shyness ⚜ Parenting Styles ⚜ Generations
Psychological Reactions to Unfair Behavior
Rhetoric ⚜ The Rhetorical Triangle ⚜ Logical Fallacies
Thinking ⚜ Thinking Styles ⚜ Thought Distortions
Uncommon Words: Body ⚜ Emotions
Villains ⚜ Voice & Accent
More References: Plot ⚜ World-building ⚜ Writing Resources PDFs
How to Write Realistic Characters in Your Stories
Writing realistic characters can be challenging because there's a lot to consider. Even though I've touched on this subject before, it's a complex topic that requires vast knowledge to get it right. Here's a guide on what to consider when writing people in your stories:
1. Similarities to Real People: Just like in real life, your characters need to share traits with real people. This helps readers connect with your story and characters on a more personal level.
2. Negative Traits: It's important to explore your characters' negative traits to make them more believable. For example:
- People often think of themselves first because it's part of our DNA to protect and care for ourselves. Your characters should share these qualities.
- People pretend to be something they aren't or act differently in front of others due to fear of not being liked. This affects almost everyone at some point.
- People are easily distracted and often miss important lessons or moments that contribute to their growth.
- People are dishonest at times to protect themselves, making it hard to fully trust them.
3. Outside Influence: Your characters are also influenced by external factors, just like you are in real life. Consider these suggestions to help you along the way:
- People tell you what to think, feel, believe, and how to act. They often tell you that you're not good enough. These are common issues we go through as humans, making it important to your stories.
4. Realism vs. Idealism: While we sometimes want to write stories filled with fairy tales of a perfect world, sadly, that doesn't exist. There will always be someone who breaks your trust, and writing about this is important. You can take this information and practice cause, effect, and solutions to these situations to see what you come up with.
I hope this helps you on your writing journey. Happy writing!
Other Words for "Look" + With meanings | List for writers
Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.
Gaze - To look steadily and intently, especially in admiration or thought.
Glance - A brief or hurried look.
Peek - A quick and typically secretive look.
Peer - To look with difficulty or concentration.
Scan - To look over quickly but thoroughly.
Observe - To watch carefully and attentively.
Inspect - To look at closely in order to assess condition or quality.
Stare - To look fixedly or vacantly at someone or something.
Glimpse - To see or perceive briefly or partially.
Eye - To look or stare at intently.
Peruse - To read or examine something with great care.
Scrutinize - To examine or inspect closely and thoroughly.
Behold - To see or observe a thing or person, especially a remarkable one.
Witness - To see something happen, typically a significant event.
Spot - To see, notice, or recognize someone or something.
Contemplate - To look thoughtfully for a long time at.
Sight - To suddenly or unexpectedly see something or someone.
Ogle - To stare at in a lecherous manner.
Leer - To look or gaze in an unpleasant, malicious way.
Gawk - To stare openly and stupidly.
Gape - To stare with one's mouth open wide, in amazement.
Squint - To look with eyes partially closed.
Regard - To consider or think of in a specified way.
Admire - To regard with pleasure, wonder, and approval.
Skim - To look through quickly to gain superficial knowledge.
Reconnoiter - To make a military observation of a region.
Flick - To look or move the eyes quickly.
Rake - To look through something rapidly and unsystematically.
Glare - To look angrily or fiercely.
Peep - To look quickly and secretly through an opening.
Focus - To concentrate one's visual effort on.
Discover - To find or realize something not clear before.
Spot-check - To examine something briefly or at random.
Devour - To look over with eager enthusiasm.
Examine - To inspect in detail to determine condition.
Feast one's eyes - To look at something with great enjoyment.
Catch sight of - To suddenly or unexpectedly see.
Clap eyes on - To suddenly see someone or something.
Set eyes on - To look at, especially for the first time.
Take a dekko - Colloquial for taking a look.
Leer at - To look or gaze in a suggestive manner.
Rubberneck - To stare at something in a foolish way.
Make out - To manage to see or read with difficulty.
Lay eyes on - To see or look at.
Pore over - To look at or read something intently.
Ogle at - To look at in a lecherous or predatory way.
Pry - To look or inquire into something in a determined manner.
Dart - To look quickly or furtively.
Drink in - To look at with great enjoyment or fascination.
Bask in - To look at or enjoy something for a period of time.
umm do you have any good gateway books into second wave feminism 😓
So if you want to read some of the defining books of the era I'd say
Sexual Politics, Kate Millett
Ob/Gyn, Mary Daly
Dialectics of Sex, Shulamith Firestone
Intercourse; Right-Wing Women; Woman Hating; Pornography; all four by Andrea Dworkin
Against Our Will, Susan Brownmiller
Ain't I a Woman, bell hooks
Sister Outsider, Audre Lorde
I haven't read it but I've also seen The Female Eunuch by Germaine Greer recommended a lot.
These are all good starts for second-wave feminism imo. upon reading them you'll also find some recommendations to other books as second-wave feminists referenced each other pretty often.
I would also advise reading history books written about the second-wave on the side. For example, Jewish Radical Feminism by Joyce Antler shades some light on Firestone's, Brownmiller's and Dworkin's life and political perspectives that helps put their work in context. Another really good one is Battling Pornography by Carolyn Bronstein, you can read this in a series with Pornography by Andrea Dworkin and Against Our Will by Susan Brownmiller. And then you also have The Trouble Between Us by Winifred Breines, about the tensions between white and black, straight and lesbian, upper and lower class second wave feminists. Also a very interesting read that puts some works in context and still has strong relevance nowadays
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