A note by Philip Roth, written in a first edition of Portnoy’s Complaint, which he recently reread after 45 years.
I’m intrigued by this new device, called the Hemingwrite. Currently under development, it is a sort of typewriter for the internet age, a simple plain-text word processor with wifi capability that allows it to sync documents with Google Docs and Evernote. That is a perfect combination. It lets jittery, easily distracted writers like me do the one thing we absolutely must — disconnect from the web — while still providing the benefits of cloud syncing and backup. I am not crazy about the over-the-top retro design, which feels self-conscious, but I hope the machine makes it into production, whatever its final design might be. I’d love to try one. For years I have used a variety of devices to shut myself off from the internet while writing: an old, pre-wifi ThinkPad, a simple keyboard device called an AlphaSmart Neo (now lamentably discontinued). This could be a useful tool for gadget-heads like me whose gadgets, alas, tend to get in the way.
[M]ost of the books I have written and those I intend to write originate from the thought that it will be impossible for me to write a book of that kind: when I have convinced myself that such a book is completely beyond my capacities of temperament or skill, I sit down and start writing it.
One starts off writing with a certain zest, but a time comes when the pen merely grates in dusty ink, and not a drop of life flows, and life is all outside, outside the window, outside oneself, and it seems that never more can one escape into a page one is writing, open out another world, leap the gap.
Instead of making myself write the book I ought to write, the novel that was expected of me, I conjured up the book I myself would have liked to read, the sort by an unknown writer, from another age and another country, discovered in an attic.
To judge by the clock, the present moment is nothing but a hairline which, ideally, should have no width at all — except that it would then be invisible. If you are bewitched by the clock you will therefore have no present. “Now” will be no more than the geometrical point at which the future becomes the past. But if you sense and feel the world materially, you will discover that there never is, or was, or will be anything except the present….
For the perfect accomplishment of any art, you must get this feeling of the eternal present into your bones — for it is the secret of proper timing. No rush. No dawdle. Just the sense of flowing with the course of events in the same way that you dance to music, neither trying to outpace it nor lagging behind. Hurrying and delaying are alike ways of trying to resist the present.
Mario Puzo thought he was slumming when he wrote The Godfather. He was broke, an aspiring literary novelist with some respectful reviews but not many sales, and he hoped that a thriller about the mob might make a quick buck. … In fact, the writing of The Godfather released something fresh in Puzo’s imagination—a streak that was both potboilerish and also a little baroque—and if the result wasn’t “literary,” exactly, it was great pop fiction. … The director of those movies, Francis Ford Coppola, originally felt about them the way Puzo felt about his book; he considered them commercial hackwork compared with his more “artistic” films like “Rumble Fish” and “One From the Heart.” And as in Puzo’s case, that attitude actually proved liberating, enabling Mr. Coppola to adopt a style that was grander and more operatic—more “epic,” to use the Hollywood term—but also less arty and self-conscious than the one he used for his more personal projects. Mr. Coppola’s “Godfather” enterprise went off the rails in “Part III,” which came out in 1990, when self-importance again seemed to overtake him (along with his star, Al Pacino) and he was no longer in touch with the story’s roots in pop culture and gangster-movie mythology.
I suppose there is a more compelling case to be made for artistic ambition, but it is worth remembering that great, lasting work often comes when artists aim low.
Brené Brown on dealing with critics real and imagined. Helpful advice for creatives of all kinds, writers included. Of course, the Teddy Roosevelt quote that was so meaningful to Brown, about “the man in the arena,” is one that every writer should keep close by, for those low moments.
It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.
I love this: George R.R. Martin writes his novels on a DOS-based computer using a vintage 1980’s word-processing program called WordStar. In this clip, he tells Conan that he actually has two computers, a modern one with an internet connection for ordinary tasks and an old DOS-based, web-free computer for writing. I do something similar, though my work computer is not quite as ancient as Martin’s. I have an old ThinkPad T23, one of the last ThinkPads made without built-in WiFi. It dates from 2001 or so. It has no internet access, and better yet it is heavy and battery life is awful, so it’s effectively immobile — it chains me to my writing desk. I write my novels on WordPerfect, a zombie word processor that I’ve been using since 1984, when my college roommate introduced me to it on his state-of-the-art Kaypro II computer. I have been a WordPerfect devotee ever since. Writers go to all kinds of extremes to seal themselves off from the insidious distractions of the web. I am surprised more don’t just use an old computer from the pre-WiFi era. In this case, less is more.
We don’t do anything without an idea. So they’re beautiful gifts. And I always say, you desiring an idea is like a bait on a hook — you can pull them in. And if you catch an idea that you love, that’s a beautiful, beautiful day. And you write that idea down so you won’t forget it. And that idea that you caught might just be a fragment of the whole — whatever it is you’re working on — but now you have even more bait. Thinking about that small fragment — that little fish — will bring in more, and they’ll come in and they’ll hook on. And more and more come in, and pretty soon you might have a script — or a chair, or a painting, or an idea for a painting.
Via Brain Pickings
“You see I’m trying in all my stories to get the feeling of the actual life across — not just depict life — or criticize it — but to actually make it alive. So that when you read something by me you actually experience the thing.”
Hemingway, age 25, letter to his father, March 1925
“It’s difficult to accept what your psyche or history dooms you to write, what Faulkner would call your postage stamp of reality. Young writers often mistakenly choose a certain vein or style based on who they want to be, unconsciously trying to blot out who they actually are.”