At the time I begin writing a novel, the last thing I want to do is follow a plot outline. To know too much at the start takes the pleasure out of discovering what the book is about.
Elmore LeonardRead
If you take a few days to write an outline, you're just making up scenes that you think will work, that you think will be interesting. But as you write it, other ideas occur - better ideas that have to do with what you're writing.
Interpretation
Writing an outline may help, but the best ideas often come during the writing process itself.
Elmore Leonard emphasizes the importance of spontaneity and creativity in writing. While outlining can provide structure, the act of writing can lead to unexpected and superior ideas that enhance the narrative, suggesting that writers should remain open to evolving their stories as they create.
In practice
In a writer's workshop discussing the creative process.
At the time I begin writing a novel, the last thing I want to do is follow a plot outline. To know too much at the start takes the pleasure out of discovering what the book is about.
A friend of mine who is in the publishing business knew I was writing a book, and he said, 'Have you said anything yet about the good guy? Because I know you spend so much time with the bad guys.' Because they're fun. So then you have to make the good guy fun, in order to compete. That's the challenge.
Really, when I write a book I'm the only one I have to please. That's the beauty of writing a book instead of a screenplay.
Sometimes female characters start out as the wife or girlfriend, but then I realize, 'No, she's the book,' and she becomes a main character. I surrender the book to her.
I really - I don't take my work that seriously, and I think that's what keeps me loose. If I try to write, if I catch myself trying to write, I'll fall right on my face. I'll see it. If I see in the prose that I'm - 'Boy, look at me writing,' I rewrite it. I rewrite it because I don't, because I think it's distracting.
There are some people who have been reading me for years, and they keep saying kind things about the writing. That's what you're writing for, to get people to respond to it.
I started under my master, Etienne Decroux, who taught me a new grammar for mime he called statuary mime. This grammar brings style creations. Without it, no art survives.
The default mode of modern writing about art is to despise any notion of singularity as so much overheated genius-fetishism.
I think people inspire me the most. If I meet a person who is incredibly complex, and all of a sudden, I start thinking in rhymes, that person could be a muse.
Writing fueled me, and my task was to make it fit into my life. I practiced my trade as an attorney, and on weekends and holidays, I typed away. I assumed a nom de plume, Selena Montgomery, to separate my fiction from more academic publications.
When they say 'jazz,' I'm thinking of a word called 'the creative process.' It intersects every vein and tributary, avenue, path, that everyone's living. It crosses through there, but it's been contained.
I hate this life of the fashionable world, always ordered, measured, ruled, like our music-paper. What I have always wished for, desired, and coveted, is the life of an artist, free and independent, relying only on my own resources, and accountable only to myself.
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