Overstatement

Substitute “damn” every time you’re inclined to write “very”; your editor will delete it and the writing will be just as it should be.

- Mark Twain

Mark Twain in The Lab of Nikola Tesla

Writers On… Writing

Given the freedom they have in accomplishing their daily work, writers are often fascinating studies in wringing out individual creativity. Interesting excerpts from the (terribly titled) How To Write a Great Novel article out this week…

Dan Chaon writes a first draft on color-coded note cards he buys at Office Max. Ideas for his books come to him as images and phrases rather than plots, characters or settings, he says. He begins by jotting down imagery, with no back story in mind. He keeps turning the images over in his mind until characters and themes emerge.

His most recent novel, “Await Your Reply,” which has three interlocking narratives about identity theft, started out as scattered pictures of a lighthouse on a prairie, a car driving into the arctic tundra under a midnight sun and a boy and his father driving to the hospital at night with the boy’s severed hand, resting on ice. He described each scene on a card, then began fleshing out the plotlines, alternating among blue, pink and green cards when he moved between narratives.

Wikipedia: Dan Chaon

When he’s in the middle of a novel, Colum McCann sometimes prints out a chapter or two in large font, staples it together like a book, and takes it to Central Park. He finds a quiet bench and pretends he’s reading a book by someone else.

Other times, when he’s re-reading a bit of dialogue or trying to tweak a character’s voice, he’ll reduce the computer font to eight-point Times New Roman. “It forces me to peer at the words and examine why they’re there,” Mr. McCann wrote in an email message.

Changing the way the words look physically gives him more critical distance, he says.

Wikipedia: Column McCann

To write “Lowboy,” which takes place in the New York City subway, Brooklyn-based novelist John Wray rode trains all over the city while pecking out a first draft on his laptop computer. He mainly rode the F, C and B trains, though “there was a time when I was really into the G,” he says. He often sat in a corner near the conductor’s booth with his headphones on. He worked like this, often for six hours a day, for nearly a year.

Granta Best of Young American Novelists: John Wray

Read the Full WSJ Article…

Frank Chimero on Technique and Faking It

“How do you get those uneven edges in your illustrations?”
“I draw them, unevenly.”

“What’s the best way to get this to look like it’s cut out of paper?”
“Cut it out of paper.”

“What typeface are you using? It looks so much like handwriting.”
“That’s my handwriting.”

These are all real questions I’ve been asked by folks. At lectures, in class, over email. It makes me feel like I’m in the business of serving up plain, glaring answers.

“Care to shed some enlightenment, Frank?”
“Hm, I don’t know. How about a big pile of obvious?”

Sorry folks, the most evident way of doing something is typically the way that I do it. No secret labs, no special tools, no computer gee-whizzery…

Read the rest: Faking It
Also great by Frank: Why vs. How