The Persian's mind, like his illuminated manuscripts, does not deal in perspective: two thousand years, if he happens to know anything about them, are as exciting as the day before yesterday.
Nevertheless, hateful as saying 'No' always is to an imaginative person, and certain as the offence may be that it will cause to individuals whose own work does not require isolated effort, the writer who is engaged on a book must learn to say it. He must say it consistently to all interrupters; to the numerous callers and correspondents who want him to speak, open bazaars, see them for 'only' ten minutes, attend literary parties, put people up, or read, correct and find publishers for semi-literate manuscripts by his personal friends.
To me, all the juice of a book is in an unpublished manuscript, and the published book is like a dead tree - just good for cutting up and building your house with.
It is not as easy to emigrate with steel mills as it is with the manuscript of a novel.
I wanted to write; I sought all possible paths of personal liberation, but I could never sacrifice a living instant of life for the sake of a line to be written, my balance for the sake of a manuscript, a storm within me for the sake of a poem. I loved life itself too much for this.
I am completing a book I began back in 2002 called 'Poems in the Manner of.' 'The Matador of Metaphor' is from this manuscript. It is an homage to Wallace Stevens that appropriates certain of his techniques.
Suggestions? Put it aside for a few days, or longer, do other things, try not to think about it. Then sit down and read it (printouts are best I find, but that's just me) as if you've never seen it before. Start at the beginning. Scribble on the manuscript as you go if you see anything you want to change. And often, when you get to the end you'll be both enthusiastic about it and know what the next few words are. And you do it all one word at a time.
I've always worked at the piano; I like to hear what I'm doing, I like the sound, to hear the actual sound. I get bored just looking at a manuscript.
Creativity runs across many categories in life, from the arts-and-crafts project a mum or dad does with their kids, to the bestselling author's manuscript, to the designs of the hairdresser, to the creations of the computer programming genius.
You should be writing for the love of the story, and when it comes time to return to the manuscript, everything else belongs behind a closed door.
Instead of taking a year off, I started Dreamers of the Day exactly 36 hours after I sent the manuscript for A Thread of Grace to the publisher!
To be perfectly honest the old habits, specifically deadlines, still very much inform what I do. I am brutally disciplined about getting manuscripts in on time.
Egypt has managed to reclaim the 13-page papyrus manuscript.
The best young writers are convinced they need blurbs from famous writers before an editor will even read the first page of a manuscript. If this is true, then the editorial system that prevails today stinks. And let's start reforming it.
If Elmore Leonard met Jim Thompson down a dark alley at midnight they might emerge a week later with thick beards, bloodshot eyes and the manuscript for THE BIG O.
If you're very serious about writing it's helpful to find an agent. It's becoming more and more competitive to have your manuscript even looked at by an editor. Many companies don't accept unsolicited manuscripts anymore, so they'll pay more attention to something that comes in through an agent.
When I have my manuscript finished, more or less, I type it myself, with two fingers. I type fast with two fingers. And then when it's ready, I reread, recorrect, and retype it. Everything is my own work. I do not give it to secretaries or to typists.
I take editing seriously. It's a joy to edit. I always hand a manuscript to several editors and can't wait to get back their notes and see what they've said. I don't criticize myself for making blunders here and there, because it's just natural. You write in chunks, and you may not remember that that sentence you wrote yesterday had the same word repeated three times. I do enjoy that. I love the feeling of repairing. Repairing is really nice.
I have a secret goal with my editor - he has asthma and uses his inhaler, and after I send him a new manuscript, I'll have his assistant phone me and tell me how many times he had to get his inhaler out while reading a draft. It's my secret laugh meter.
Don't wait for success, but for the respect and interest of those who read you. At the start it could be a classmate, someone who shares your interests. Before sending off the manuscript for a novel to a publishing house, it would be a good idea to try writing short stories, and publishing them in a local magazine.
Whatever artistry may occur within the manuscript, the magic happens for me in the last draft. Whatever I have been resistant to say must finally be said. In the end, I see where my pencil has been leading me.
The border between editing and ghostwriting is, at its extremes, a bit porous. An editor really improves and sometimes restructures a manuscript and suggests changes.
What havoc has been made of books through every century of the Christian era? Where are fifty gospels, condemned as spurious by the bull of Pope Gelasius? Where are the forty wagon-loads of Hebrew manuscripts burned in France, by order of another pope, because suspected of heresy? Remember the 'index expurgatorius', the inquisition, the stake, the axe, the halter and the guillotine.
My study is a converted garage which is largely lined with bookshelves and cardboard boxes filled with manuscripts of my film scripts, plays and books.
Editors never buy manuscripts that are left on the closet shelf at home.
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