Letters from a Young Writer, Part 3
im willing to lern im only thirteen but i want to be a great author more than anything
I spent a lot of time wondering if I should write back. My day job cuts into my writing time enough as is, and I’m not really sure I believe that she wants to improve. Particularly in fan communities, many writers will praise each other and enjoy being praised, even if their work simply doesn’t measure up. Writing is less an end and more a means for growing closer. They write for community, because humans are storytellers by nature, because they enjoy sitting around the virtual campfire.
Basically it’s a circle-jerk of the ego.
It’s too bad that I’ve never really been friendly enough for that sort of thing.
I thought about it until she wrote to me again.
i went to ur website cuz i was interested in more of ur stuff cuz that first link you gave me was pretty cool im wondering if u care if i use ur stuff in some of my storys not published or anything like that im not that stupid ive seen ur copyright but as inspiration do you mind?
My answer that time was reflexive: I do care, and it bothers me quite a bit. While I admit to reading the Wulf Archives in my early teens, I can’t really endorse handing out shameless pornography to a thirteen-year-old, particularly one who can’t even write a coherent sentence. More than that, though, is the idea that someone could just “use ur stuff”; writing simply doesn’t work that way. It’s not like drawing, where you can develop muscle-memory in the process. Inspiration is one thing, but copying is quite another. Published or not, it doesn’t teach anything; it has no instructional value.
I closed out my reply with this thought: If you really want to improve, you could look at what you enjoy about my writing, and practice to achieve the same effect. It’s much more effort, but the work and the credit be yours, not mine, if you make something really worthwhile.
For a while that was enough, but later that night I sat down and wrote her a more complete explanation. She deserved that much, I thought, and ultimately it cost me nothing to sit down for an hour of downtime and try, one more time, to reach her. I’m actually rather proud of it.
> i want to be a great author more than anything
I’ve been trying to decide how to respond to this for a while now.
I can’t teach you to be a great author.
I can’t even teach you to be a great writer.
There is a subtle and important difference, and I hope you understand it. The way I’m going to use it here, an author, I think, is as much a matter of community as it is a matter of craft. An author is recognized by what he has accomplished; he has an audience and performs upon the stage of their expectations, both on and off the page. An author has a presence. By that measure, I am barely an author at all, let alone a great one.
So what am I, if I am not an author? I am a writer. I write. That is all. I claim no allegiance to any community, no responsibility to any fans. My loyalty is to the craft, to the endless pursuit of an aesthetic. To this end I am only an egg, unhatched. For the most part I have learned by doing, fumbling in the dark, and there is very little I know that isn’t taught in school.
Even if I were a great writer, I’m not sure that I could teach you, or that such a thing can even be taught. Almost by definition great writing transcends teaching. There are no magic pills, or even magic lessons; there is no list of things to learn that add up to greatness, at least not in any meaningful sense. “Bring your images to life.” “Omit needless words.” What do these things mean, really? What makes an image live? Which words are needless? I barely even know, and only then by the faint and painful whispers in the shadows of my dreams. Great writing has a certain sublime quality, a certain alchemical purity that I find hard to even quantify, let alone bottle up and teach.
I don’t think I can even teach you to write in my own style. It would be an empty lesson, a farce if not an insult. A style is so… so personal. I can step into Hemmingway’s style, for a few sentences, and it’s like stepping into his head, like seeing the stark cold lines of reality drawn and highlighted by his eyes, like feeling the hard, proud machismo pounding in his chest, and the weight of his existence upon his shoulders. It’s a profound experience, but it is also a profound wrongness; a style is like a man’s skin, like a suit cut for him and him alone. Wearing someone else’s bends you in places where you have no joints, or you wear out the fabric where a seam should have buttressed it. A style is like armor; if it is not yours, you will break it - and it will break you.
So what do I have to teach? I could, I think, teach you to write the same way I do, with the same process, but I ask you… is this really what you want? I don’t think you understand what that means. It is very simple. There are only two lessons:
1 – You must have the courage to see your mistakes, and the determination to find them all. What is a mistake? Everything that is not perfect is a mistake.
2 – You may never forgive yourself for any of them, ever again.
It’s that simple.
Writing is a slavery. I am a servant of my craft, an empty vessel for the words to fill. I suppose I am a good servant, or at least a competent one, but it is hard to tell; three or four years ago I would have been thrilled with what I’m writing today, but as you grow, so too does your understanding of perfection. You chase something that can never be caught, not in a thousand lifetimes of geniuses a thousand times better than you will ever be, but still you serve, because anything else would be unthinkable; you serve because anything else would tear away the piece of yourself that you’ve already poured into the craft. To write the way that I do is to sit trembling in the corner for hours, sifting your mind for the right word; to wake up gasping and desperate in the middle of the night, hunting for paper to catch the phrases before they fade; to beat your head on the shower wall, trying to make the words come; and to wish, at the same time, that you could stop, and that it would never end.
More than that, though, writing this way means that you will never again be happy with anything you ever make.
Is that what you really want?
Think about it.
-Adrian
I suspected that it would go over her head (to be perfectly truthful, I think basic sentence structure goes over her head), but maybe in five years she’ll open it again and understand what I’m trying to tell her. That’ll be worth it.
Realistically in five years I’ll be ‘that 1 meen guy who was 2 stuk up to help me’.
That’s a cross I’m willing to bear.
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