A Quote by Alan Cheuse

Habit is the best thing for you if you’re trying to write prose. — © Alan Cheuse
Habit is the best thing for you if you’re trying to write prose.
There is poetry even in prose, in all the great prose which is not merely utilitarian or didactic: there exist poets who write in prose or at least in more or less apparent prose; millions of poets write verses which have no connection with poetry.
You don't have to be as good a writer to write a song; it's a very different process to writing straight prose. To learn how to write prose takes a lot of years of practice.
I don't write out of fear. I write out of a strong urge to meet death on its own eternal terms, because the fact is that if you write as little as a page of prose-even bad prose-that is eternal.
In my younger days, I was trying to write sophisticated prose and fantastic stories.
I think I was also afraid of the novel. I write line by line, proceeding at snail's pace, rewriting as I go and paring the excess away. This is against all the best advice for writing long form prose, and I have tried over the years to break myself of the habit, but I can't bear to leave anything ungainly on the page and half the fun for me is that tinkering. So the length of a novel was a daunting prospect.
Why do you always write poetry? Why do you not write prose? Prose is so much more difficult.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
I'm not trying to get across some sort of message or statement. I'm just literally trying to write the best songs I can write. It's all that matters.
One habit that's important for keeping me mentally healthy is having meaningful conversations with the people around me. That's a habit that fuels my body and my mind. I also like to go to the beach and write, and I've been trying to focus on giving myself time to be alone.
The last thing I think I am is perfect. I'm just trying to do the best job I can. I'm trying to be the best father I can to my kids. I'm trying to do the best job I can running my business.
I'm trying to get in the habit of, you know, picking up a book and learning how to write my feelings down, not my feelings but my thoughts, about things, and hopefully I'll moving toward the writing and directing thing soon.
My most pronounced writing habit is trying not to write.
I'm pretty relaxed, trying to enjoy the races, trying to do the best I can in the car, trying to the give the best to the team, and that's the most important thing.
Certainly for me prose has a dilatory capacity, insofar as I don't trust my abilities in prose. I imagine I could have done the same thing in poetry, but sometimes I feel more fluent in poetry than in prose, and as a consequence perhaps I might pass too quickly by a thing that I might, in prose, have struggled merely to articulate. That struggle creates space, and it seems to me a particular kind of space into which memory flows easily. I suspect I think better in poetry, however.
Italian is a very different poetic situation and there are these hard and fast rhythmic periods, settenari, ottonari of seven and eight syllables. These are fundamental to the way people speak and write and breaking them is more radical in Italian than when we break a line. I'm sure there are Italian poets who want to write poetry as prose and break these Petrarchan rules. And breaking them is fun and a valid thing to do. But I'm more interested in trying to write poetry that absorbs tradition and uses it in new ways, and doesn't throw it out.
My object when writing prose is to write as clearly as possible. I think I know what I'm saying in prose, and I want others to understand it and to be able to restate it.
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