A Quote by Kelly Link
The initial spark usually has something to do with panic -- I'm due to turn in a story to a workshop or an editor. It's a terrible working method.
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I make a project and I panic. Which is good, it can be a method. First, panic. Second, conquer panic by working. Third, find ways to solve your doubts.
I usually submit a novel at a certain number of words, and when I've finished working with my editor, the novel is longer than when I submitted it. I need my editor to help me open up the story.
It's all about who's where on the food chain. When I'm the story editor, I expect my writers to follow my vision. When I'm working for another editor, I'm obliged to follow their vision.
A year after I'd graduated college, I went to a weeklong conference intensive in Boston, and that's when things kicked into high gear. My workshop leader was a Harvard professor and editor. At the end of the week we met one-on-one over breakfast, and she said, in essence, "Look, you're ready to turn pro." She gave me a list of literary agents to query once I had something to show them. I came home and wrote my first real novel, and the agent that sold it to Tor Books was on that list.
If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.
Sometimes, a concept is needed to spark myself and the vocalist; sometimes a concept isn't necessary for that spark. It all depends on the moment, because I don't want to be that dude that every album has to be this story or that story.
It's great to create a story and then to submit it to your editor and see what her reaction is to it. It's great to have your editor tell what her suggestions and ideas for the story are. It's great to explain to your editor why her ideas and suggestions are bizarre and to ask her why is she trying to ruin my story.
Working on a token is similar to working on a startup: higher risk and lower initial impact but higher upside potential. How core protocol work is best funded beyond the initial Ethereum Foundation endowment is an open question, but likely further out.
I heard a story the other night about an editor who visited the Iowa Workshop and, when asked what sorts of books she published, replied, "Classic books." One of the students asked her, "You mean like Kafka?" Apparently she said, "Oh, I don't think I would publish Kafka."
One must seek the shortest way and the fastest means to get back home-to turn the spark within into a blaze, to be merged in and to identify with that greater fire which ignited the spark.
It seems to me that there is a good deal of ballyhoo about scientific method. I venture to think that the people who talk most about it are the people who do least about it. Scientific method is what working scientists do, not what other people or even they themselves may say about it. No working scientist, when he plans an experiment in the laboratory, asks himself whether he is being properly scientific, nor is he interested in whatever method he may be using as method.
Writing a story is pretty all-consuming for me - it feels a lot like method acting, and for the eight or twelve or fifteen months that I'm working on a story, I'm constantly thinking about how my narrator would react to whatever tangled situation I'm in.
Panic is efficient. Panic is effective. Panic is the way I get things done! Panic attacks are my booster rockets!
My last point about getting started as a writer: do something first, good or bad, successful or not, and write it up before approaching an editor. The best introduction to an editor is your own written work, published or not. I traveled across Siberia on my own money before ever approaching an editor; I wrote my first book, Siberian Dawn, without knowing a single editor, with no idea of how to get it published. I had to risk my life on the Congo before selling my first magazine story. If the rebel spirit dwells within you, you won't wait for an invitation, you'll invade and take no hostages.
I have a great editor and I enjoy, in a masochistic way, being ruthless about my own performance. How do I know, but I think I'm quite good at saying, "That's no good. That's no good. That's it. That's it. That's good." And I'm with the editor who goes, "No, I think you're wrong. That's not your best." There's an initial point in the editing, if you're directing yourself, especially in my case, where you go, "Ouch, ouch, ouch, I can't watch this." And then, there's a point where you become hard-nosed and just take your neurosis away and go, "What's working? That's okay. That's okay. We can lose that, and lose that." You get objective about it.
If you have that spark that inspires other people, if you have a spark that gives resources to other people, that shares in really collaborative fashion, a spark of wit that kind of tells a story that gives people novel perspective of something, that's the kind of charisma that really leads to lasting power. It's not the kind of charisma that's seductive and self-aggrandizing. It's really a sort of a kind of social energy that really brings about the best in other people.
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