A Quote by Arthur Bradford
I write most of my first drafts on an old manual typewriter, a really old one. It's a big black metal "Woodstock" from about 1920. I try to write everything down at once, in one sitting. The longer stories in this collection are divided up into sections. Each section represents a different sitting, a different idea for the same story.
Related Quotes
You write down a paragraph or two describing several different subjects creating a kind of story ingredients-list, I suppose, and then cut the sentences into four or five-word sections; mix em up and reconnect them. You can get some pretty interesting idea combinations like this. You can use them as is or, if you have a craven need to not lose control, bounce off these ideas and write whole new sections.
It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.
I recently discovered the work of Giorgio Manganelli, who wrote a collection called 'Centuria,' which contains 100 stories, each of them about a page long. They're somewhat surreal and extremely dense, at once fierce and purifying, the equivalent of a shot of grappa. I find it helpful to read one before sitting down to write.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
I don't read anything electronically. I don't write electronically, either - except e-mails to my family and friends. I write in longhand. I have always written first drafts by hand, but I used to write subsequent drafts and insert pages on a typewriter.
The old idea of a composer suddenly having a terrific idea and sitting up all night to write it is nonsense. Nighttime is for sleeping.
I write exclusively using computers. Pens and typewriters can fsck right off - I wrote my first half million words in my teens on a manual typewriter (had to trade it for a new one due to keys snapping from metal fatigue) so I am not a pen or typewriter fetishist.
Alone with our madness and favorite flower
We see that there really is nothing left to write about.
Or rather, it is necessary to write about the same old things
In the same way, repeating the same things over and over
For love to continue and be gradually different.
I'm not typing. I write only by longhand. I've always written first drafts by hand and then once I was into a second or third draft I wrote insert pages on a typewriter. But I got rid of all my typewriters about three or four novels ago and now I do everything by hand. I write by hand because it makes me go slow and going slow is what I like.
I probably write the same story a hundred different ways. I suppose right now I am looking for the 101st different way to write that same story. And the 102nd, and 103rd and 111th and 133rd.
Prowling about the rooms, sitting down, getting up, stirring the fire, looking out the window, teasing my hair, sitting down to write, writing nothing, writing something and tearing it up...
The Greeks used to use the same stories, the same mythology, time after time, different authors. There was no premium placed upon an original story, and indeed, Shakespeare likewise. A lot of people wrote plays about great kings. They didn't expect a brand-new story. It was what that new author made of the old story. It is probably the same now. We disguise it by inventing what seem to be new stories, but they're basically the same story anyway.
When I naturally write a story and I feel that the guy is sitting across the table from the girl and flirting with her... I think, 'God, that can't be me' because I'm just too old for that part. You need a 30-year-old or a 35-year-old for that part. And so I've given myself less and less roles.
I try to keep the idea that there's an audience in as little space in my mind as possible, but you can't erase it entirely, the idea that when you're sitting down to write a song, people are going to hear it.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
Our lives are stories, and the stories we have to give to each other are the most important. No one has a story too small and all are of equal stature. We each tell them in different ways, through different mediums—and if we care about each other, we'll take the time to listen.
Related Authors
Ayn Rand Quotes
Russian
Writer
C. S. Lewis Quotes
British
Writer
Francois de La Rochefoucauld Quotes
French
Writer
Gilbert K. Chesterton Quotes
English
Writer
H. L. Mencken Quotes
American
Writer
Haruki Murakami Quotes
Japanese
Writer
Kurt Vonnegut Quotes
American
Writer
Leo Tolstoy Quotes
Russian
Writer
Mark Twain Quotes
American
Writer
Mason Cooley Quotes
American
Writer
Ray Bradbury Quotes
American
Writer
Samuel Johnson Quotes
English
Writer
Seth Godin Quotes
American
Writer
Sherrilyn Kenyon Quotes
American
Writer
Suzanne Collins Quotes
American
Writer