Sometimes Idiom Outweighs Accuracy

Grand Central Terminal: Magnificent Beaux Arts structure located at the junction of Forty-second Street and Park Avenue in New York City—a junction and not an intersection because the streets meet but do not cross. 

            That the building is often referred to as Grand Central Station does not make that its name. That said, if you’re going to characterize a busy and/or crowded place by saying “It’s like Grand Central Station in here!” you should go ahead and do that because that’s what everyone does, and there are occasions when idiom outweighs* accuracy.

*I’d originally written here “idiom trumps accuracy,” but I’ve developed an aversion to that verb.

BENJAMIN DREYER

A Poet's Credo

This credo I hereby affirm. I will never say marginalize or use privilege as a verb. I will avoid closure except perhaps when discussing the endings of poems. I will avoid gnostic altogether. I will not say societal and comedic where social and comic will serve just as well. I will not say hegemony except with irony. I will not put nestled, cradled, or shimmered in poems, and I will stop reading any poem that has cupped in it, or scrim, sure signs of poetical intent. I will not split infinitives if I can help it. I will use correct grammar, but I will feel free to leave out punctuation marks when it suits my purposes in a poem. I will welcome new oxymorons, as when a friend complains that she has “an ancient computer.” I will allow no-brainer and Prozac and feng shui into my poetry, not to mention the Net, the Web, the Windows software that came with the box, my laptop, my desktop, my ergonomic workstation, the bad case of carpal tunnel syndrome I suffered a few years ago, and other things that would have made no sense to anyone thirty years ago. I will love the language as a living thing that never stops evolving.

DAVID LEHMAN

Bad Dialogue

Nothing can break the mood of a piece of writing like bad dialogue. My students are miserable when they are reading an otherwise terrific story to the class and then hit a patch of dialogue that is so purple and expositional that it reads like something from a childhood play by the Gabor sisters. ... I can see the surprise on my students' faces, because the dialogue looked okay on paper, yet now it sounds as if it were poorly translated from their native Hindi.

ANNE LAMOTT

History Is an Art, Not a Science

History is one way of telling stories, just like myth, fiction, or oral storytelling. But over the last hundred years, history has preempted the other forms of storytelling because of its claim to absolute, objective truth. Trying to be scientists, historians stood outside of history and told the story of how it was. All that has changed radically over the last twenty years. Historians now laugh at the pretense of objective truth. They agree that every age has its own history, and if there is any objective truth, we can’t reach it with words. History is not a science, it’s an art.

URSULA K. LE GUIN

There Is No Secret Password

The whole “Can I call myself a writer?” question I found so odd, as if it’s some sort of identity that is separate from the actual act of writing. It’s very, very strange to me. There is no secret password to being a writer. There is no secret code. You just do it. People would like to imagine that the work involved is not just the writing itself. There’s serious work in writing. It’s not something other than that, really.

LYNNE TILLMAN

Daily Rituals

When I lace my boots, before stepping out for my walk, I’m entering a ritual. I’m mindful of the notepaper and the small yellow pencil in my pocket. The work of writing has begun. I was pleased to find out in Daily Rituals [by Twyla Tharp] that it is extremely common for writers and artists to go on walks. As important as the act of shutting the door of the study has been the act of opening it and stepping out for a stroll. Gustave Flaubert, Charles Dickens, and Leo Tolstoy were all walkers.

AMITAVA KUMAR

Focus and Endurance

After focus, the next most important thing for a novelist is, hands down, endurance. If you concentrate on writing three or four hours a day and feel tired after a week of this, you’re not going to be able to write a long work. What’s needed for a writer of fiction—at least one who hopes to write a novel—is the energy to focus every day for half a year, or a year, or two years. You can compare it to breathing.

HARUKI MURAKAMI

The Great Thing About Writing

The great thing about writing is that it can be produced in sub-optimal—even atrocious—conditions. And so many of the most interesting books are. It’s the one art form that isn’t beholden to power or money. Which is perhaps why so much of what we celebrate in writing comes from the edges—geographically, politically, socially, economically. What a writer needs above all is a mad courage to overcome the fear of failure we all have, which is also, unfortunately, often also the most destructive vanity. The reader wins in this, and mostly the writer gains little or loses most things or even everything. Their grail is that they will make something beautiful and very occasionally enduring, and, of course, they almost never get there. But how wonderful that they keep trying.

RICHARD FLANAGAN

How to Steal a Quote

It’s a matter of principle to attribute the source when using someone else’s words. But what happens when you remember the words or phrase but can’t remember who said it? There was a time when I searched the internet for the person who’d written the phrase I wanted to use, describing someone’s eyes, but came up empty. [Joan] Didion suggested a work-around, circling her finger in the air as she spoke. “You could write, ‘He had eyes that someone once described as…’ and use the quote.”

SARA DAVIDSON

Writing Habits

I’m a full-time believer in writing habits, pedestrian as it all may sound. You may be able to do without them if you have genius but most of us only have talent and this is simply something that has to be assisted all the time by physical and mental habits or it dries up and blows away. I see it happen all the time. Of course you have to make your habits in this conform to what you can do. I write only about two hours every day because that’s all the energy I have, but I don’t let anything interfere with those two hours, at the same time and the same place. This doesn’t mean I produce much out of the two hours. Sometimes I work for months and have to throw everything away, but I don’t think any of that was time wasted. Something goes on that makes it easier when it does come well. And the fact is if you don’t sit there every day, the day it would come well, you won’t be sitting there.

FLANNERY O’CONNOR