Posts Tagged ‘Eric Bentley’
Quote of the Day
Great narrative is not the opposite of cheap narrative: it is soap opera plus.
My twenty favorite writing quotes
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.
An artist must approach his work in the spirit of the criminal about to commit a crime.
The best way to have a good idea is to have a lot of ideas.
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.
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.
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.
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.
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.
Great narrative is not the opposite of cheap narrative: it is soap opera plus.
You must train day and night in order to make quick decisions.
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.
The best question I ask myself is: What would a playwright do?
Mechanical excellence is the only vehicle of genius.
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.
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.
You can’t win, you can’t break even, and you can’t get out of the f—king game.
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.
Quote of the Day
Great narrative is not the opposite of cheap narrative: it is soap opera plus.
Alec Nevala-Lee 