A Quote by Donna Jo Napoli
Writing isn't just on the page; it's voices in the reader's head. Read what you write out loud to someone-anyone-and you will catch all kinds of things.
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I don't want to be influenced as to what I write in the next book, to hear those voices in my head when I'm writing. The idea of second-guessing your reader is dangerous, trying to please some notional reader looking over your shoulder, instead of just yourself.
Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.
You've got to be a good reader. So whatever genre that you're interested in, read a lot of books about it and it's better than any kind of writing class you'll ever take. You will absorb techniques and then in a lot of cases you can just start writing using the style of the book or the author that you admire and then your own style will emerge out of that. Be a diligent reader and then try to write seriously, professionally and approach everything in writing in a professional way.
When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"
Read the kinds of things you want to write; read the kinds of things you would never write. Learn something from every writer you read.
If you read the first page of one of my novels, I can guarantee that you will read the last one. This isn't just social commentary. This is also about writing good page-turners. I want people to keep reading.
When you're writing a pilot, unless you already have an actor attached to the project, you're writing it with all the voices sort of in your head. Once you actually cast it, the actors become the voices of the characters, and you start to write for them and their strengths.
Writing is a job, a craft, and you learn it by trying to write every day and by facing the page with humility and gall. And you have to love to read books, all kinds of books, good books. You are not looking for anything in particular; you are just letting stuff seep in.
Nice writing isn't enough. It isn't enough to have smooth and pretty language. You have to surprise the reader frequently, you can't just be nice all the time. Provoke the reader. Astonish the reader. Writing that has no surprises is as bland as oatmeal. Surprise the reader with the unexpected verb or adjective. Use one startling adjective per page.
When I write, I tend to read it out loud to myself after. I'm a very uncomfortable reader, so it creates a distance between the text and me - it is a new way to see it.
As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.
In conversation you can use timing, a look, an inflection. But on the page all you have is commas, dashes, the amount of syllables in a word. When I write, I read everything out loud to get the right rhythm.
Reading and writing music is a wonderful way of getting ideas in your head down to someone else who reads and writes, but if you don't read and write, and the other musician you're playing with are trying to express something who doesn't read and write, than it's a question of "I wrote" so that you must learn from listening and from understanding where that's coming from.
You need to give the reader a reason to turn the page. In a diary, you are just yourself. You aren't trying to entertain. You aren't trying to get anyone to turn the page. I have over one hundred and fifty six volumes of my diary and I guarantee you that if you read them, you'd stop and never come back.
Go where the pleasure is in your writing. Go where the pain is. Write the book you would like to read. Write the book you have been trying to find but have not found. But write. And remember, there are no rules for our profession. Ignore rules. Ignore what I say here if it doesn't help you. Do it your own way. Every writer knows fear and discouragement. Just write.The world is crying for new writing. It is crying for fresh and original voices and new characters and new stories. If you won't write the classics of tomorrow, well, we will not have any.
No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, don't confine yourself to reading fiction. Every writer is first a wide reader.
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