Tag : on writing

books3ce spun tendintele in structuri narative si in povesti…

ce spun tendintele in structuri narative si in povesti…

citesc pentru un proiect despre structuri narative transmedia, despre cum se schimba limbajul in functie de platforma pe care e scrisa informatia.

cea mai simpatica – si cred, reala – tendinta este ca viitoarele carti vor putea fi citite de oriunde s-ar deschide si naratiunea ar putea avea sens.

e potrivit cu gindirea actuala a tinerilor si cu span attention-ul lor (sub 2 min), dar revolutioneaza practic tot ceea ce s-a invatat in scoala despre o structura narativa care trebuie sa aiba un inceput, un mijloc (cu conflict, punct culminant) si deznodamint.

cartea viitorului va fi ca un board cu post-it-uri, pe fiecare post-it o poveste. de oriunde ai incepe sa citesti, ai prinde povestea, ai trai din atmosfera si – pe durata citirii unui “post -it” ai avea satisfactia data de o poveste mare (cu tensiune, conflict, punct culminant deznodamint)

cartea viitorului va fi deci o colectie de povesti scurte cu aceleasi personaje, mini seriale tv asezate pe hirtie intr-o naratiune lineara sau nu.

si pentru ca traim in epoca facebook, cind “like” inlocuie “love” si e instrumentul perfect ca sa-ti umfli ego-ul, iar generatia noua e narcisista ( se fotografiaza mult, ii place sa fie placut(a) , sa primeasca multe like-uri), personajele povestilor viitoare vor fi cu “narcissistic personal disorder”.

pentru lamuriri, dar si pentru a recunoaste tipologia multor personaje din cartile/filmelor ultimilor ani, iata cum se manifesta  “narcissistic personal disorder”

  • Has a grandiose sense of self-importance (e.g., exaggerates achievements and talents, expects to be recognized as superior without commensurate achievements)
  • Is preoccupied with fantasies of unlimited success, power, brilliance, beauty, or ideal love
  • Believes that he or she is “special” and unique and can only be understood by, or should associate with, other special or high-status people (or institutions)
  • Requires excessive admiration
  • Has a very strong sense of entitlement, e.g., unreasonable expectations of especially favorable treatment or automatic compliance with his or her expectations
  • Is exploitative of others, e.g., takes advantage of others to achieve his or her own ends
  • Lacks empathy, e.g., is unwilling to recognize or identify with the feelings and needs of others
  • Is often envious of others or believes that others are envious of him or her
  • Regularly shows arrogant, haughty behaviors or attitudes

 

1150

If You Want to Write: A Book about Art, Independence and Spirit

The only good teachers for you are those friends who love you, who think you are interesting, or very important, or wonderfully funny; whose attitude is:
“Tell me more. Tell me all you can. I want to understand more about everything you feel and know and all the changes inside and out of you. Let more come out.”

And if you have no such friend,–and you want to write,–well, then you must imagine one.

Brenda Ueland, If You Want to Write: A Book about Art, Independence and Spirit

– o carte pe care am primit-o astazi cadou. am deschis-o direct la acest citat:)

999
ZADIE_SMITH10 observatii pentru cei care vor sa fie scriitori – Zadie Smith

10 observatii pentru cei care vor sa fie scriitori – Zadie Smith

Zadie Smith e una dintre scriitoarele mele preferate: are un foarte fin simt al naturii umane, o tehnica incredibila (cind era copil si-a consumat multe vacante exersind scrieri in stilul marilor scriitori) si de la un roman la altul te surprinde cu o noua forma/ structura.

pe vremuri, pe cind am descoperit-o si lucram la revista, am anuntat public ca fac publicitate gratis pentru editura care o va publica in RO. acum e publicata (la Polirom e ultimul roman, Nord Vest – minunat) si evanghelizez scrierile sale de cite ori am ocazia.

iata cele 10 observatii pe care Zadie le face pentru viitorii scriitori; cum spuneam, e minunata.

1. When still a child, make sure you read a lot of books. Spend more time doing this than anything else.

2. When an adult, try to read your own work as a stranger would read it, or even better, as an enemy would.

3. Don’t romanticise your ‘vocation’. You can either write good sentences or you can’t. There is no ‘writer’s lifestyle’. All that matters is what you leave on the page.

4. Avoid your weaknesses. But do this without telling yourself that the things you can’t do aren’t worth doing. Don’t mask self-doubt with contempt.

5. Leave a decent space of time between writing something and editing it.

6. Avoid cliques, gangs, groups. The presence of a crowd won’t make your writing any better than it is.

7. Work on a computer that is disconnected from the ­internet.

8. Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.

9. Don’t confuse honours with achievement.

10. Tell the truth through whichever veil comes to hand — but tell it. Resign yourself to the lifelong sadness that comes from never ­being satisfied.

990

Hemingway on writing

When people talk listen completely. Don’t be thinking what you’re going to say. Most people never listen. Nor do they observe. You should be able to go into a room and when you come out know everything that you saw there and not only that. If that room gave you any feeling you should know exactly what it was that gave you that feeling. Try that for practice. When you’re in town stand outside the theatre and see how the people differ in the way they get out of taxis or motor cars. There are a thousand ways to practice. And always think of other people.

*

If we get into a fish see exactly what it is that everyone does. If you get a kick out of it while he is jumping remember back until you see exactly what the action was that gave you the emotion. Whether it was the rising of the line from the water and the way it tightened like a fiddle string until drops started from it, or the way he smashed and threw water when he jumped. Remember what the noises were and what was said. Find what gave you the emotion; what the action was that gave you the excitement. Then write it down making it clear so the reader will see it too and have the same feeling that you had. That’s a five finger exercise.

Hemingway on writing

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despre citit scrisce sa (mai) citesti daca vrei sa scrii

ce sa (mai) citesti daca vrei sa scrii

dupa ce am scris aceasta postare despre destructurarea unor texte care fac acum valuri in online am primit intrebari despre  “ce sa citesc despre scris”.

am scris de multe ori despre necesitatea de a invata sa scrii constient fata de ceea ce vrei sa oferi ca senzatie, emotie cititorului, despre nevoia de a cunoaste structurile narative – fie si la nivel de informatie – daca tot vrei sa te exprimi in scris.

incerc sa pun aici cit mai multe dintre informatiile (scrieri/carti pe care le puteti citi, dar si cursuri la care puteti merge, aici in bucuresti) care au insemnat ceva pentru mintea mea, mi-au ordonat cumva scrierea. sper sa va fie de folos. multe sunt linkuri de la articole de pe acest blog, intrucit scrierea constienta, structurata, controlata e o zona care ma preocupa de foarte mult timp.

despre structuri

in acest moment la nivel international se pregateste unul dintre cele mai mari cursuri despre structura textelor, e un experiment tinut de 3 profesori care locuiesc in berlin.  se mai pot face inscrieri, e gratis, acces prin email, la cursuri video in engleza. tine 18 saptamini, incepe saptamina viitoare:  The future of storytelling

pina luni va mai puteti inscrie la cursul de scenaristica de la ControlN – nu e doar despre cum se scrie un scenariu de film ( si pina la sf scrieti un scenariu de scurt metraj), e despre cum sa-ti construiesti personajele, despre cum sa le prezinti publicului, despre structuri de povesti si, partea mea preferata din acest curs, despre conflict si fortele antagonice:) . cursul incepe pe 22 oct, se numeste First Draft.

tot la Control N este un curs de scriere creativa tinut de Cristian Teodorescu, o noua serie a inceput joi.

Story – continut, structura, metoda si principii scenaristice Robert McKee (chiar daca e despre film, spune foarte clar si asezat despre structurile din interiorul multor actiuni, nu doar a unei povesti si-o face intr-o forma foarte accesibila, americaneasca. va poate ordona scrisul usor) – a aparut la editura Filmtett. intr-o vreme se gasea doar in libraria Bastilia.

On Writing Well – the classic guide to writing nonfiction – William Zinsser (o am in pdf pt doritori)

Off The Page (writers talk about beginnings, endings and everything in between) – cum cartea nu e tradusa la noi, la link sunt citeva fragmente pe care le-am transcris pentru blog.

Raymond Carver – A Writer’s Life. ( e biografia lui Carver, dar cum el era absolut maniac in analiza structurilor narative sunt capitole intregi in care vorbeste despre asta. cum cartea nu e tradusa la noi inca, am scris si pe blog, aici, un fragment. in carte sunt insa lungi insemnari despre cursurile lui Cehov despre scris…)

… Cehov despre scris, in scrisorile lui catre prieteni si familie

Literatura vs matematica

*

n-am urmat cursurile, dar stiu profesorii si stiu ca sunt ok:

Curs despre Eseul personal tinut la Fundatia Calea Victoriei de Ana Maria Ciobanu . asta e ce ar trebui sa stie cam toti cei care scriu din viata lor, amintiri si povesti. dupa aceea veti intelege ca nu e o aroganta cind spun ca (mai) toate scrierile arata acum ca niste compuneri despre… cum mi-am petrecut iubirea/viata, in loc de vacanta. adica niste scrieri de scoala generala. urmatorul curs incepe pe 14 noiembrie.

Scrie despre tine – atelierul scrieri personale, intr-o structura dramatizata (piesa de teatru) sustinut de Vera Ion. ea o numeste documentare si povestire a realitatii, dar eu spun ca e tot pentru cei care isi scriu amintirile in reviste sau bloguri, pentru a invata sa-ti faci curat in minte si in pagina, inainte de a da si cititorilor sa citeasca povestea ta. urmatorul curs incepe pe 22 octombrie.

Atelier de scriere creativa sustinut de Florin Iaru si Marius Chivu, la Revista de povestiri. seria 3 a inceput pe 7 oct. detalii aici

***

despre etica scrisului & motivationale pentru scriitori

Why I write, eseul lui George Orwell (nu e tradus la noi, dar il gasiti la Anthony Frost in original)

Why I write, Joan Didion, intregul eseu aici ( e o serie intreaga de asemenea texte, astea sunt insa preferatele mele. )

Henry Miller & Neil Gaiman on Writing

Stephen King on writing –  am cartea cu totul in pdf, pentru cine doreste:)

conversatii cu Truman Capote

Scott Fitzgerald on writing

(revin cu o noua serie simbata viitoare:) )

 

foto via shutterstock

on writing Kurt Vonnegut

“Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.” Kurt Vonnegut

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zelda & scottscott fitzgerald on writing – synchronicity

scott fitzgerald on writing – synchronicity

synchronicity -Nothing any good isn’t hard
vineri am recitit cartea biografica a cuplului Zelda & Scott Fitzgerald. cind lucrez la un proiect, citesc f mult non fiction – rigoarea scrierilor americane in nonfiction ma face sa-mi doresc sa fiu si eu la fel de atenta la detalii si la informatii chiar daca nu scriu decit reportaje, nu cine stie creatii cu pretentii de literatura. alesesem cartea asta si pentru ca o prietena studenta la actorie are in curind examen de licenta cu un rol inspirat de perioada respectiva, de personajele respective si voiam sa fiu in cunostinta de cauza cind o sa discutam la tema.

ieri am avut o zi buna de scris si am incheiat ce aveam in plan  undeva spre 6 dimineata . am scris 12 ore non stop si m-am bucurat de fiecare secunda in care am avut energia pentru a scrie ceea ce am adunat in luni de reporting.

 

de dimineata, in mail a venit un link la articolul de mai jos. si mi s-a parut nu doar ca o rasplata pentru munca mea de ieri, ci si ca o incurajare pentru ce ma asteapta astazi. in curind ma asez din nou la birou, tai orice legatura cu lumea, pun muzici care ma bucura (azi noapte am scris pe Vunk – lacrimi de coniac) si incerc sa pun in cuvinte niste fapte si emotii pe care le-am vazut la oameni.

 

cititi rindurile de mai jos, sunt mi-nu-na-te.

***

November 9, 1938

Dear Frances:

I’ve read the story carefully and, Frances, I’m afraid the price for doing professional work is a good deal higher than you are prepared to pay at present. You’ve got to sell your heart, your strongest reactions, not the little minor things that only touch you lightly, the little experiences that you might tell at dinner. This is especially true when you begin to write, when you have not yet developed the tricks of interesting people on paper, when you have none of the technique which it takes time to learn. When, in short, you have only your emotions to sell.

This is the experience of all writers. It was necessary for Dickens to put into Oliver Twist the child’s passionate resentment at being abused and starved that had haunted his whole childhood. Ernest Hemingway’s first stories ‘In Our Time’ went right down to the bottom of all that he had ever felt and known. In ‘This Side of Paradise’ I wrote about a love affair that was still bleeding as fresh as the skin wound on a haemophile.

The amateur, seeing how the professional having learned all that he’ll ever learn about writing can take a trivial thing such as the most superficial reactions of three uncharacterized girls and make it witty and charming — the amateur thinks he or she can do the same. But the amateur can only realize his ability to transfer his emotions to another person by some such desperate and radical expedient as tearing your first tragic love story out of your heart and putting it on pages for people to see.

That, anyhow, is the price of admission. Whether you are prepared to pay it or, whether it coincides or conflicts with your attitude on what is ‘nice’ is something for you to decide. But literature, even light literature, will accept nothing less from the neophyte. It is one of those professions that wants the ‘works.’ You wouldn’t be interested in a soldier who was only a little brave.

In the light of this, it doesn’t seem worth while to analyze why this story isn’t saleable but I am too fond of you to kid you along about it, as one tends to do at my age. If you ever decide to tell your stories, no one would be more interested than,

Your old friend,

F. Scott Fitzgerald

P.S. I might say that the writing is smooth and agreeable and some of the pages very apt and charming. You have talent — which is the equivalent of a soldier having the right physical qualifications for entering West Point.

 

(…)

Don’t be a bit discouraged about your story not being tops. At the same time, I am not going to encourage you about it, because, after all, if you want to get into the big time, you have to have your own fences to jump and learn from experience. Nobody ever became a writer just by wanting to be one. If you have anything to say, anything you feel nobody has ever said before, you have got to feel it so desperately that you will find some way to say it that nobody has ever found before, so that the thing you have to say and the way of saying it blend as one matter—as indissolubly as if they were conceived together.

Let me preach again for one moment: I mean that what you have felt and thought will by itself invent a new style so that when people talk about style they are always a little astonished at the newness of it, because they think that is only style that they are talking about, when what they are talking about is the attempt to express a new idea with such force that it will have the originality of the thought. It is an awfully lonesome business, and as you know, I never wanted you to go into it, but if you are going into it at all I want you to go into it knowing the sort of things that took me years to learn.

[…]

Nothing any good isn’t hard, and you know you have never been brought up soft, or are you quitting on me suddenly? Darling, you know I love you, and I expect you to live up absolutely to what I laid out for you in the beginning.

Scott

de aici

1159
henry-millerHenry Miller & Neil Gaiman on Writing

Henry Miller & Neil Gaiman on Writing

Henry Miller

1. Work on one thing at a time until finished.

2. Start no more new books, add no more new material to “Black Spring.”

3. Don’t be nervous. Work calmly, joyously, recklessly on whatever is in hand.

4. Work according to the program and not according to mood. Stop at the appointed time!

5. When you can’t create you can work.

6. Cement a little every day, rather than add new fertilizers.

7. Keep human! See people; go places, drink if you feel like it.

8. Don’t be a draught-horse! Work with pleasure only.

9. Discard the Program when you feel like it–but go back to it the next day. Concentrate. Narrow down. Exclude.

10. Forget the books you want to write. Think only of the book you are writing.

11. Write first and always. Painting, music, friends, cinema, all these come afterwards.

Neil Gaiman

1. Write.

2. Put one word after another. Find the right word, put it down.

3. Finish what you’re writing. Whatever you have to do to finish it, finish it.

4. Put it aside. Read it pretending you’ve never read it before. Show it to friends whose opinion you respect and who like
the kind of thing that this is.

5. Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.

6. Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.

7. Laugh at your own jokes.

8. The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it ­honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.

via Alex Traila

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urmeObsession

Obsession

(at a war) Every day and every night there is a strong possibility that you will get killed and not have to write.
I have to write to be happy whether I get paid for it or not. But it is a hell of a disease to be born with. I like to do it. Which is even worse.
That makes it from a disease into a vice. then i want to do it better than anybody has ever done it which makes it into an obsession.
An obsession is terrible. Hope you haven’t gotten any.

That’s the only one I’ve got left.

****
the hardest thing in the world to do is to write straight honest prose on human beings.
first you have to know the subject; then you have to know how to write.
both take a life time to learn.

***

Hemingway, on writing

927
ernest hemingwayde reamintit

de reamintit

First, there must be talent, much talent. Talent such as Kipling had. Then there must be discipline. The discipline of Flaubert. Then there must be the conception of what it can be and an absolute conscience as unchanging as the standard meter in Paris, to prevent faking. Then the writer must be intelligent and disinterested and above all he must survive. Try to get all these in one person and have him come through all the influences that press on a writer. the hardest thing, because time is so short, is for him to survive and get his work done.

***
All good book are alike in that they are truer than if they had really happened and after you are finished reading one you feel that all that happened to you and afterwards it all belongs to you; the good and the bad, the ecstasy, the remorse and sorrow, the people and the places and how the weather was.

***
All my life I’ve looked at works as though I were seeing them for the first time…

***

Hemingway – On writing.
***

de reamintit in vremurile acestea tulburi de comentarii la tv

1303
Stephen-King-002Stephen King – On writing

Stephen King – On writing

Around 1960, Forry (who sometimes referred to himself as “the Ackermonster”) spun off the short-lived but interesting Spacemen, a magazine which covered science fiction films. In 1960, I sent a story to Spacemen. It was, as well as I can remember, the first story I ever submitted for publication. I don’t recall the title, but I was still in the Ro-Man phase of my development, and this particular tale undoubtedly owed a great deal to the killer ape with the goldfish bowl on his head.

My story was rejected, but Forry kept it. (Forry keeps everything, which anyone who has ever toured his house—the Ackermansion—will tell you.) About twenty years later, while I was signing autographs at a Los Angeles bookstore, Forry turned up in line . . . with my story, single-spaced and typed with the long-vanished Royal typewriter my mom gave me for Christmas the year I was eleven. He wanted me to sign it to him, and I guess I did, although the whole encounter was so surreal I can’t be completely sure. Talk about your ghosts. Man oh man.

***

Nobody ever asks about the language.
They ask the DeLillos and the Updikes and the Styrons, but they don’t ask popular novelists. Yet many of us proles also
care about the language, in our humble way, and care passionately about the art and craft of telling stories on paper.
What follows is an attempt to put down, briefly and simply, how I came to the craft, what I know about it now, and how it’s done. It’s about the day job; it’s about the language.

***
citesc cartea lui Stephen King “On Writing”. nu-mi place King pentru ca nu-mi plac SF-urile, dar cartea aceasta pe jumatate autobiografica, pe jumatate despre tehnicile de scris sper sa ma motiveze pentru a ma apuca de un proiect maricel care e in plan. si pentru care nu-mi gasesc inca entuziasmul.

am cartea lui King in pdf, nu cred ca va fi tradusa la noi, asa ca pentru cine e fan, as putea sa o trimit pe mail.
daca va intereseaza, lasati un comentariu & adresa reala de mail in semnatura pe care vi-o cere blogul cind comentati

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