Alec Nevala-Lee

Thoughts on art, creativity, and the writing life.

Posts Tagged ‘Dennis Lehane

Poets, playwrights, and programmers

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Robert Pinsky

If you’re an attentive reader of this blog, you’ve probably noticed that there have been a lot of poets around here, usually in the Quotes of the Day. This isn’t an accident. I’ve been posting quotes on a daily basis for almost five years—I haven’t missed a day yet—and in the process, as I’ve noted before, you quickly run through most of the usual suspects. (There are also a few unwritten rules. I do my best not to run more than one quote from the same source within three months, and I try to avoid falling back on excerpts from the interviews in The Paris Review, which seems a little like cheating. Whenever you see one on this blog, it’s usually because I ran out of ideas.) Whenever I find a promising new source of quotes, I tend to mine it dry before moving on. Sometimes it takes the form of a reference work, like Gaither’s Scientific Quotations, or a book that copiously cites other interesting sources, like Robert Root-Bernstein’s Discovering. Most often, though, it’s because it suddenly occurs to me that a certain field or profession would be a good place to look for wisdom. This month, it happens to be poetry, and it isn’t the first time. A couple of years ago, I ran a long series of quotes from most of the living poet laureates, like Robert Pinsky, of which I said later: “Appointments and prizes in the literary world are often ridiculed as meaningless…but at their best, they provide a soapbox for prickly, passionate, cantankerous artists to bring their opinions to a wider audience.”

Which brings us to the poets whose thoughts I’ve been posting here recently, all of whom have one thing in common: they’ve all won a Pulitzer Prize. And if their interviews are invariably interesting and packed with insights into craft, this shouldn’t come as a surprise. Most practicing poets—the ones who manage to make a career out of it, even if it involves teaching or selling insurance on the side—are repositories of lore and good tricks, and the only difference a Pulitzer makes is that they’re being widely interviewed for the first time. In many cases, as with a poet laureateship, it’s the first touch of mainstream fame that these poets have ever received, and you can feel their eagerness to pour out decades of accumulated wisdom for a larger audience. If much of the resulting advice is relentlessly pragmatic, this only reflects the reality of poetry itself, which doesn’t have much patience for dilettantes or dreamers. Threading the needle in any creative profession is a tricky proposition, and it’s all the more true in poetry, in which the needle, not to mention the thread, has a way of disappearing entirely. A poet smart and talented enough to pursue that calling successfully for years has to be preternaturally driven in the face of widespread indifference, a combination that tends to produce useful strategies for living and working.

Dennis Lehane

And what they have to say is often more valuable than what other writers might have to offer under similar circumstances. Looking at the quotes that I’ve posted on this blog over the years, I’m struck by the fact that many of the best come from three professions: poets, playwrights, and programmers. I’m just more likely to learn something interesting from an interview with someone in one of these categories than I am from yet another novelist. Part of this is because the best insights often come from outside your own field, and applying a trick from one discipline to another can be as useful in the arts as it is in science. Even more fundamentally, though, I’d like to think that there’s something about these three jobs in particular that enforces a certain quality of thinking, and it isn’t hard to guess what it might be. All three are defined by constraints. For a poet, those constraints are self-imposed, but any meaningful career in poetry has been shaped at some stage by a prolonged confrontation with form, meter, and rhyme. A playwright—at least one who has any interest in being performed—operates under considerable limitations of length, budget, cast size, sets, and practicable action onstage. And while the hardware and memory limits that coders once had to confront are becoming less of an issue, programming is still constrained by the problems it has to solve and the unforgiving logic of the language. Writers would take a vastly different approach to their work if a poorly written story refused to load altogether.

The more I think about it, the more convinced I become that the answer to Job’s famous question—”Where shall wisdom be found?”—lies in the following equation:

Wisdom = Constraints + Time

If the novel has produced less in the way of useful advice than we might expect, it’s in part because it has been historically defined by its lack of constraints: originally, it was simply a long prose narrative that didn’t fit into any other category. A novel can be anything we want, and as a result, the tips that novelists provide have a hard time being useful to anyone in particular. In poetry, playwriting, and programming, by contrast, the constraints inherent to the form result in a lot of collective wisdom about how to survive. And the lesson for novelists isn’t that we ought to switch fields, or even that we have it easy: in some ways, the lack of constraints in the novel makes it the hardest of all to do well. The real takeaway is that we should impose constraints on ourselves whenever we can, even if it’s just an arbitrary word limit, and that we should pay close attention to fields in which such practical limitations aren’t merely voluntary. (Even better, spend an hour or two talking to a poet over the age of sixty.) And we should remember one of the few great pieces of advice from any novelist, in this case Dennis Lehane, while substituting one of the other two professions as necessary: “The best question I ask myself is: What would a playwright do?”

Written by nevalalee

October 7, 2015 at 9:48 am

Quote of the Day

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Written by nevalalee

November 27, 2014 at 7:30 am

My twenty favorite writing quotes

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It’s hard to believe, but over the past two years, I’ve posted more than six hundred quotes of the day. At first, this was simply supposed to be a way for me to add some new content on a daily basis without going through the trouble of writing a full post, but it ultimately evolved into something rather different. I ran through the obvious quotations fairly quickly, and the hunt for new material has been one of the most rewarding aspects of writing this blog, forcing me to look further afield into disciplines like theater, songwriting, dance, and computer science. Since we’re rapidly approaching this blog’s second anniversary, I thought it might be useful, or at least amusing, to pick out twenty of my own favorites. Some are famous, others less so, but in one way or another they’ve been rattling around in my brain for a long time, and I hope they’ll strike up a spark or two in yours:

Be well-ordered in your life, and as ordinary as a bourgeois, in order to be violent and original in your work.

Gustave Flaubert

An artist must approach his work in the spirit of the criminal about to commit a crime.

Edgar Degas

The best way to have a good idea is to have a lot of ideas.

Linus Pauling

Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from such things.

T.S. Eliot

Graphical excellence is that which gives to the viewer the greatest number of ideas in the shortest time with the least ink in the smallest space.

Edward R. Tufte, The Visual Display of Quantitative Information

Luck is the residue of design.

Branch Rickey

The first thing you do when you take a piece of paper is always put the date on it, the month, the day, and where it is. Because every idea that you put on paper is useful to you. By putting the date on it as a habit, when you look for what you wrote down in your notes, you will be desperate to know that it happened in April in 1972 and it was in Paris and already it begins to be useful. One of the most important tools that a filmmaker has are his/her notes.

Francis Ford Coppola, in an interview with The 99 Percent

Immature artists imitate. Mature artists steal.

Lionel Trilling

The worst error of the older Shakespeare criticism consisted in regarding all the poet’s means of expression as well-considered, carefully pondered, artistically conditioned solutions and, above all, in trying to explain all the qualities of his characters on the basis of inner psychological motives, whereas, in reality, they have remained very much as Shakespeare found them in his sources, or were chosen only because they represented the most simple, convenient, and quickest solution of a difficulty to which the dramatist did not find it worth his while to devote any further trouble.

Arnold Hauser, The Social History of Art

As a writer, I’ve tried to train myself to go one achievable step at a time: to say, for example, “Today I don’t have to be particularly inventive, all I have to be is careful, and make up an outline of the actual physical things the character does in Act One.” And then, the following day to say, “Today I don’t have to be careful. I already have this careful, literal outline, and I all have to do is be a little bit inventive,” et cetera, et cetera.

David MametSome Freaks

Great narrative is not the opposite of cheap narrative: it is soap opera plus.

Eric Bentley, The Life of the Drama

You must train day and night in order to make quick decisions.

Miyamoto Musashi, The Book of Five Rings

I guarantee you that no modern story scheme, even plotlessness, will give a reader genuine satisfaction, unless one of those old-fashioned plots is smuggled in somewhere. I don’t praise plots as accurate representations of life, but as ways to keep readers reading. When I used to teach creative writing, I would tell the students to make their characters want something right away—even if it’s only a glass of water. Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.

Kurt Vonnegut, to The Paris Review

The best question I ask myself is: What would a playwright do?

Dennis Lehane, to The Writer Magazine

Mechanical excellence is the only vehicle of genius.

William Blake

To achieve great things, two things are needed: a plan, and not quite enough time.

—Attributed to Leonard Bernstein

If you have taken the time to learn to write beautiful, rock-firm sentences, if you have mastered evocation of the vivid and continuous dream, if you are generous enough in your personal character to treat imaginary characters and readers fairly, if you have held onto your childhood virtues and have not settled for literary standards much lower than those of the fiction you admire, then the novel you write will eventually be, after the necessary labor of repeated revisions, a novel to be proud of, one that almost certainly someone, sooner or later, will be glad to publish.

John Gardner, On Becoming a Novelist

If you wrote something for which someone sent you a check, if you cashed the check and it didn’t bounce, and if you then paid the light bill with the money, I consider you talented.

Stephen King, On Writing

You can’t win, you can’t break even, and you can’t get out of the f—king game.

Harlan Ellison

He wishes he had never entered the funhouse. But he has. Then he wishes he were dead. But he’s not. Therefore he will construct funhouses for others and be their secret operator—though he would rather be among the lovers for whom funhouses are designed.

John Barth, “Lost in the Funhouse”

Quote of the Day

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Written by nevalalee

January 3, 2012 at 8:00 am

Posted in Quote of the Day, Writing

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