A man who writes a story is forced to put into it the best of his knowledge and the best of his feeling. The discipline of the written word punishes both stupidity and dishonesty. A writer lives in awe of words for they can be cruel or kind, and they can change their meanings right in front of you. They pick up flavors and odors like butter in a refrigerator. Of course, there are dishonest writers who go on for a little while, but not for long—not for long.
On Getting Started
Now let me give you the benefit of my experience in facing 400 pages of blank stock — the appalling stuff that must be filled. I know that no one really wants the benefit of anyone’s experience which is probably why it is so freely offered. But the following are some of the things I have had to do to keep from going nuts.
- Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
- Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
- Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
- If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
- Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
- If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
It is hard to open up a person and to look inside. There is even a touch of decent reluctance about privacy but writers and detectives cannot permit the luxury of privacy. In this book [East of Eden] I have opened lots of people and some of them are going to be a little bit angry. But I can’t help that. Right now I can’t think of any work which requires concentration for so long a time as a big novel.
Sometimes I have a vision of human personality as a kind of fetid jungle full of monsters and demons and little lights. It seemed to me a dangerous place to venture, a little like those tunnels at Coney Island where “things” leap out screaming. I have been accused so often of writing about abnormal people.
It would be a great joke on the people in my book if I just left them high and dry, waiting for me. If they bully me and do what they choose I have them over a barrel. They can’t move until I pick up a pencil. They are frozen, turned to ice standing one foot up and with the same smile they had yesterday when I stopped.
From The Paris Review, John Steinbeck, The Art of Fiction No. 45.