Ho letto pochi manuali di scrittura creativa veramente utili ma quei pochi sono stati preziosi. Erano stati scritti da grandi scrittori ed erano sia frutto di esperienze personali di scrittura, sia ricordo di grandi maestri che sapevano insegnare il mestiere. Ne ricordo due in particolare: quello di John Gardner ( Il mestiere dello scrittore , Marietti, purtroppo introvabile) e quello di Raymond Carver ( Il mestiere di scrivere , Einaudi, in catalogo). Vedi caso Raymond Carver was a student of Gardner ...
Other manuals have not been memorable, but they offered me some ideas discrete . Others were not worth more than the paper they were printed.
Speaking of fiction, I think there are recipes to write correctly, but not write well. Probably there is no writing "good", even if most readers can recognize a well written page. But there is the proper writing, able to deeply touch the reader and, simultaneously, so discreet as to be almost not noticed. As Max says: writing to say enough without saying too much. The
I know, is that asking so much. For this writer is a very ambitious goal, but why settle for less? Nobody forces us to write, writing is important if we try to do to the best of our ability.
writer sooner or later faces every kind of challenge: to describe effectively places never seen (and perhaps non-existent), how to make the most of stronzaggine a character without making a caricature ... A number of challenges, different for each of us, occur more often than others.
One of my "problems" are the dialogues.
It is incredibly difficult to find two people on the paper until all sounds contrived, scheduled at the table, boring: I write for an hour, I read and gestures are unlikely and clumsy, phrases, solemn words wrong. And it all takes place in a universe devoid of feeling: no colors, smells, noises. Horror.
So for years I have studied the issue, debated fiercely with anyone I could pull (Max first, of course), I took notes on what was being said in the glorious days of Koro. I filed a bit 'of short pages, and despite my confusion, I have found and preserved. Voila:
Recipe for writers series.
Speaking of fiction, I think there are recipes to write correctly, but not write well. Probably there is no writing "good", even if most readers can recognize a well written page. But there is the proper writing, able to deeply touch the reader and, simultaneously, so discreet as to be almost not noticed. As Max says: writing to say enough without saying too much. The
I know, is that asking so much. For this writer is a very ambitious goal, but why settle for less? Nobody forces us to write, writing is important if we try to do to the best of our ability.
writer sooner or later faces every kind of challenge: to describe effectively places never seen (and perhaps non-existent), how to make the most of stronzaggine a character without making a caricature ... A number of challenges, different for each of us, occur more often than others.
One of my "problems" are the dialogues.
It is incredibly difficult to find two people on the paper until all sounds contrived, scheduled at the table, boring: I write for an hour, I read and gestures are unlikely and clumsy, phrases, solemn words wrong. And it all takes place in a universe devoid of feeling: no colors, smells, noises. Horror.
So for years I have studied the issue, debated fiercely with anyone I could pull (Max first, of course), I took notes on what was being said in the glorious days of Koro. I filed a bit 'of short pages, and despite my confusion, I have found and preserved. Voila:
Recipe for writers series.
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