Download The Art of Slow Writing: Reflections on Time, Craft, and by Louise DeSalvo PDF

By Louise DeSalvo

In a sequence of conversational observations and meditations at the writing approach, The artwork of gradual Writing examines the advantages of writing slowly. DeSalvo advises her readers to discover their inventive procedure on deeper degrees by way of learning themselves and their tales extra absolutely over an extended time period. She writes within the similar supportive demeanour that encourages her scholars, utilizing the sluggish writing method to aid them discover the complexities of craft. The artwork of sluggish Writing is the antidote to self-help books that pontificate the assumption of fast-writing, completing a singular a 12 months, and speedy revisions. DeSalvo makes a case that extra mature writing frequently develops over an extended time period and provides counsel and methods to coach the inventive strategy during this new adventure.

DeSalvo describes the paintings conduct of profitable writers (among them, Nobel Prize laureates) in order that readers can use the data supplied to strengthen their id as writers and remodel their writing lives. It contains anecdotes from vintage American and foreign writers comparable to John Steinbeck, Henry Miller, Virginia Woolf and D. H. Lawrence in addition to modern authors equivalent to Michael Chabon, Junot Diaz, Jeffrey Eugenides, Ian McEwan, and Salman Rushdie. DeSalvo skillfully and lightly courses writers not to merely begin their paintings, yet immerse themselves absolutely within the procedure and create texts they'll treasure.

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Additional resources for The Art of Slow Writing: Reflections on Time, Craft, and Creativity

Example text

Because I’d wanted to finish this chapter quickly, I’d missed its fundamental significance. My parents were creating their first home when homes created with as much care as theirs were being obliterated. They were beginning their life together knowing it would soon be wrenched apart. No home, no matter how lovingly created, could insulate them from the tragedy of war. * * * Although I’ve been writing since 1975, I’m still a beginner. I’m still learning my craft; I’m still learning what it means to be a writer; I’m learning what it means to be a slow writer.

You write primer English,” the professor commented. Afraid of making a mistake, short on time, I’d simplified my writing and my argument. I wanted to be a writer. But if this was what writing was like, I couldn’t do it—I didn’t have the necessary skills. I didn’t know it was all right to start anywhere. That most writers compose more than one draft. That it was impossible to do everything at once. But that’s how I thought writers wrote, and no one—not my professors, not the books I read about literature (we were steered away from biography)—told us anything different about how writers worked.

When Woolf began To the Lighthouse, the novel she wrote after Mrs. Dalloway, the idea for it came to her “in a great involuntary rush” while she was taking a walk. She then sketched a plan for the novel in her notebook. She decided that she would leave many of the characters of the Ramsay children undifferentiated; that time would become a character in the work; that she would describe her father, mother, St. ” Woolf worked out some of the issues she faced in the novel in stories she was writing at the same time.

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