A Quote by David Starkey
Embrace the melancholic voice completely in the drafting stages, to explore it for all it's worth. Then, in revision, privilege craft over pure feeling. Write the work that someone besides you will want to read.
Related Quotes
The longer I write, the more important I believe it is to write the first draft as fast as possible. In drafting, I push myself so I am at the edge of discomfort...Later, it will be time for consideration and reconsideration, slow, careful revision and editing. But on the first draft I have to achieve velocity, just as you do if you want the bike to balance.
I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.
Revision plays a very large role in writing. Sometimes it seems to be all revision. And the longer I write, the more I revise-until it is completely right.
The writing is what gives me the joy, especially editing myself for the page, and getting something ready to show to the editors, and then to have a first draft and get it back and work to fix it, I love reworking, I love editing, love love love revision, revision, revision, revision.
I don't have a schedule, but I can write for hours non-stop. If I'm drafting a book, I try and do a chapter a day. I dislike first drafts. Revision is a lot more fun, but it takes years.
With time some poems just fall by the wayside. Other poems get better over time with revision, revision, revision. My ladybug poem took 10 minutes to write but was 10 years in the making.
I would give them (aspiring writers) the oldest advice in the craft: Read and write. Read a lot. Read new authors and established ones, read people whose work is in the same vein as yours and those whose genre is totally different. You've heard of chain-smokers. Writers, especially beginners, need to be chain-readers. And lastly, write every day. Write about things that get under your skin and keep you up at night.
I always listen to music when I write! I basically make a playlist for every essay; sometimes it's just one song, or three songs, over and over and over. I sort of find the emotional pitch of the piece, and then match music to it, and then the music becomes a shortcut to the feeling, so I can enter it and work anywhere: on planes, cafes, at work, the train.
My own words, when I am at work on a story, I hear too as they go, in the same voice that I hear when I read in books. When I write and the sound of it comes back to my ears, then I act to make changes. I have always trusted this voice.
I always wanted voice over to be part of my career. Even as a child, I'd watch cartoons and know that someone was doing the voices. When I moved to L.A., my hope was that I'd do on-camera work and voice over. I've ended up doing both, but the voice over side took off in a way that I didn't expect!!
I said, "OK, Ammon [Hennacy], I will try that." He said, "You came into the world armed to the teeth. With an arsenal of weapons, weapons of privilege, economic privilege, sexual privilege, racial privilege. You want to be a pacifist, you're not just going to have to give up guns, knives, clubs, hard, angry words, you are going to have lay down the weapons of privilege and go into the world completely disarmed."
I just try to put the thing out and hope somebody will read it. Someone says: 'Whom do you write for?' I reply: 'Do you read me?' If they say 'Yes,' I say, 'Do you like it?' If they say 'No,' then I say, 'I don't write for you.'
The best advice I can give on this is, once it's done, to put it away until you can read it with new eyes. Finish the short story, print it out, then put it in a drawer and write other things. When you're ready, pick it up and read it, as if you've never read it before. If there are things you aren't satisfied with as a reader, go in and fix them as a writer: that's revision.
Even my colleagues don't read classic criticism. And my feeling is that if you don't do that then you're not really practicing your craft. That's how you learn how to do it. You don't learn how to write about jazz just from listening to jazz. You learn how to write by reading the great writers and how they worked, the great music critics.
If your white privilege and class privilege protects you, then you have an obligation to use that privilege to take stands that work to end the injustice that grants that privilege in the first place.
I write first drafts by hand, often out of the house somewhere, and then, when I've got a draft, type it up and let it sit, sometimes for a long time, and then when I'm ready, I work on revision.
Related Authors
Alexis de Tocqueville Quotes
French
Historian
Daniel J. Boorstin Quotes
American
Historian
David McCullough Quotes
American
Historian
Edward Gibbon Quotes
English
Historian
Hannah Arendt Quotes
German
Historian
Henry Adams Quotes
American
Historian
Herodotus Quotes
Greek
Historian
Howard Zinn Quotes
American
Historian
Linda Colley Quotes
British
Historian
Livy Quotes
Roman
Historian
Michel Foucault Quotes
French
Historian
Robert Dallek Quotes
American
Historian
Tacitus Quotes
Roman
Historian
Tariq Ali Quotes
Pakistani
Historian
Thucydides Quotes
Greek
Historian
Will Durant Quotes
American
Historian