7
" It's a misery peculiar to would-be writers. Your theme is good, as are your sentences. Your characters are so ruddy with life they practically need birth certificates. The plot you've mapped out for them is grand, simple and gripping. You've done your research, gathering the facts; historical, social, climatic culinary, that will give your story its feel of authenticity. The dialogue zips along, crackling with tension. The descriptions burst with color, contrast and telling detail.
Really, your story can only be great. But it all adds up to nothing.
In spite the obvious, shining promise of it, there comes a moment when you realize that the whisper that has been pestering you all along from the back of your mind is speaking the flat, awful truth: IT WON'T WORK.
An element is missing, that spark that brings to life in a real story, regardless of whether the history or the food is right.
Your story is emotionally dead, that's the crux of it.
The discovery is something soul-destroying, I tell you. It leaves you with an aching hunger. "
― Yann Martel
8
" Anyone and everyone taking a writing class knows that the secret of good writing is to cut it back, pare it down, winnow, chop, hack, prune, and trim, remove every superfluous word, compress, compress, compress...
Actually, when you think about it, not many novels in the Spare tradition are terribly cheerful. Jokes you can usually pluck out whole, by the roots, so if you're doing some heavy-duty prose-weeding, they're the first to go. And there's some stuff about the whole winnowing process I just don't get. Why does it always stop when the work in question has been reduced to sixty or seventy thousand words--entirely coincidentally, I'm sure, the minimum length for a publishable novel? I'm sure you could get it down to twenty or thirty if you tried hard enough. In fact, why stop at twenty or thirty? Why write at all? Why not just jot the plot and a couple of themes down on the back of an envelope and leave it at that? The truth is, there's nothing very utilitarian about fiction or its creation, and I suspect that people are desperate to make it sound manly, back-breaking labor because it's such a wussy thing to do in the first place. The obsession with austerity is an attempt to compensate, to make writing resemble a real job, like farming, or logging. (It's also why people who work in advertising put in twenty-hour days.) Go on, young writers--treat yourself to a joke, or an adverb! Spoil yourself! Readers won't mind! "
― Nick Hornby , The Polysyllabic Spree
14
" The solution which I am urging is to eradicate the fatal disconnection of subjects which kills the vitality of our modern curriculum. There is only one subject-matter for education, and that is LIfe in all its manifestations. Instead of this single unity, we offer children--Algebra, from which nothing follows; Geometry, from which nothing follows; Science, from which nothing follows; History, from which nothing follows; a Couple of Languages, never mastered; and lastly, most dreary of all, Literature, represented by plays of Shakespeare, with philological notes and short analyses of plot and character to be in substance committed to memory. Can such a list be said to represent Life, as it is known in the midst of living it? The best that can be said of it is, that it is a rapid table of contents which a deity might run over in his mind while he was thinking of creating a world, and has not yet determined how to put it together "
― Alfred North Whitehead , The Aims of Education
19
" I’m not your boyfriend!” I snapped, trying to gently move her hands away from my body.
“How can you say that?” Sara asked in horror.
“It’s shockingly effortless,” I replied. “My vocal chords vibrate, and my mouth and tongue articulate. I can even do it without thinking.” I had to remind myself to stay calm, and sarcasm was the best way to do that.
“When are you going to give me a key to your house so I don’t have to knock like some guest?” Sara asked, coming at me again.
I backed away. “How about never? Is never good for you?”
Sara, undeterred, said, “You’re the reason I go to therapy on Fridays.”
“The plot thickens!” Gabby exclaimed for comedic relief. "
― Laura Kreitzer , Keepers (Timeless, #3.5)
