A Quote by Rumer Godden
Every piece of writing starts from what I call a grit a sight or sound, a sentence or happening that does not pass away but quite inexplicably lodges in the mind.
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Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn't the writing; it's the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?
I always tell my writing students that every good piece of writing begins with both a mystery and a love story. And that every single sentence must be a poem. And that economy is the key to all good writing. And that every character has to have a secret.
I enjoy both TV writing and novel writing, and they are very similar. The goal is to entertain and amuse the audience, and I subscribe to this P.G. Wodehouse piece of advice: "Try to give pleasure with every sentence."
I think that when you're writing plays, and I think it's also true with novels, it helps to have an ear for the music of language, for what we call poetry, for the sound effects and the way that the sound can produce sensual feeling at odds with or consonant with the content of the work. Your work is also gorgeous writing. It's very unfortunate when you open a novel that everybody's loving and it's just, you know, an excruciatingly bad sentence.
I start with voice, maybe a sentence. That sentence might embody an image, and I go from there. One sentence to the next. Sound drives the work these days - sound before description.
Scottish operative lodges began in the seventeenth century to admit non-operative members as accepted or gentleman masons and that by the early eighteenth century in some lodges the accepted or gentleman masons had gained the ascendancy: those lodges became, in turn speculative lodges, whilst others continued their purely operative nature. The speculative lodges eventually combined to form the Grand Lodge of Scotland in 1736.
The way it works for me is my sight and sound senses are combined. Every sound I associate with a color and every color I associate with a sound... The way I see things is constant streamers across the room, bouncing off from every touch and every sound. Over the years, I've learned what color palates I love most.
If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.
But then when you are on the training pitch and you give a pass away or something it affects you more and your head starts to go. It doesn't happen a lot but it does happen.
A sentence is like a tune. A memorable sentence gives its emotion a melodic shape. You want to hear it again, say it—in a way, to hum it to yourself. You desire, if only in the sound studio of your imagination, to repeat the physical experience of that sentence. That craving, emotional and intellectual but beginning in the body with a certain gesture of sound, is near the heart of poetry.
The secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that’s already in the verb, every passive construction that leaves the reader unsure of who is doing what—these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to the education and rank.
Some people mistake grit for sheer persistence - charging up the same hill again and again. But that's not quite what I mean by the word 'grit.' You want to minimize friction and find the most effective, most efficient way forward. You might actually have more grit if you treat your energy as a precious commodity.
I think every interaction I have, there's something I walk away going, Oh my God, I sound like a jerk. It's constantly happening.
In truth, we have delayed to pass sentence on the person of our lord the king, waiting, if perhaps he may, by God's grace, repent; but we will pass it ere long unless he does repent.
The child's mind is not the type of mind we adults possess. If we call our type of mind the conscious type, that of the child is an unconscious mind. Now an unconscious mind does not mean an inferior mind. An unconscious mind can be full of intelligence. One will find this type of intelligence in every being, and every insect has it.
Love is a kind of dementia with very precise and oft-repeated clinical symptoms. You blush in each other's presence, you both hover in places where you expect the other to pass, you are both a little tongue-tied, you both laugh inexplicably and too long, you become quite nauseatingly girlish, and he becomes quite ridiculously gallant. You have also grown a little stupid.
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