Craft Advice from George Saunders
Writer George Saunders calls this “achieving the iconic space,” and it’s what he’s after when he meets his creative writing students. “They arrive already wonderful. What we try to do over the next three years is help them achieve what I call their “iconic space” — the place from which they will write the stories only they could write, using what m... See more
Brie Wolfson • Notes on “Taste”
Taste requires originality. It invokes an aspirational authenticity. Writer George Saunders calls this “achieving the iconic space,” and it’s what he’s after when he meets his creative writing students. “They arrive already wonderful. What we try to do over the next three years is help them achieve what I call their “iconic space” — the place from ... See more
Brie Wolfson • Notes on “Taste”
The process of cultivating taste is a lot like the writing and editing process. Here’s George Saunders on the revision process. “The way I revise is: I read my own text and imagine a little meter in my head, with “P” on one side (“Positive”) and “N” on the other (“Negative”)... This involves making thousands of what I’ve come to think of as “micro-
Mounica Veggalam added
How, then, to proceed? Skipping over, for the moment, the first draft, assuming some existing text to work with, my method is this: I imagine a meter mounted in my forehead, with a P on this side (“Positive”) and an N on that side (“Negative”). I try to read what I’ve written the way a first-time reader might (“without hope and without despair”). W
... See moreGeorge Saunders • A Swim in a Pond in the Rain: From the Man Booker Prize-winning, New York Times-bestselling author of Lincoln in the Bardo
Editing is easier when you know the patterns_
When it comes to essay writing, the idea of “patterns over process,” is just as relevant.
Tootzi instilled a philosophy of “all that exists is the artifact that’s on the table.” It doesn’t matter if your ideas come from your mind, your heart, your soul, your belly button, the tops of mountains, a bottle ... See more
When it comes to essay writing, the idea of “patterns over process,” is just as relevant.
Tootzi instilled a philosophy of “all that exists is the artifact that’s on the table.” It doesn’t matter if your ideas come from your mind, your heart, your soul, your belly button, the tops of mountains, a bottle ... See more
Michael Dean • The Secret Architecture of Great Essays
Amie Pollack and added
for most of us, our work would benefit from reaching out to others more, trusting more in our readers. I have seen, in many of my students, that the first proof of progress is that their stories become more cognizant of the existence of the reader – more fun, less unnecessarily dense, truer to life, fairer, warmer; they start engaging with issues t... See more
George Saunders • Art vs. Commerce
Keely Adler added
How, then, to proceed? Skipping over, for the moment, the first draft, assuming some existing text to work with, my method is this: I imagine a meter mounted in my forehead, with a P on this side (“Positive”) and an N on that side (“Negative”). I try to read what I’ve written the way a first-time reader might (“without hope and without despair”). W
... See moreGeorge Saunders • A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life
But all of this, at every step, is more felt than decided. When I’m writing well, there’s almost no intellectual/analytical thinking going on. When I first found this method, it felt so freeing. I didn’t have to worry, didn’t have to decide, I just had to be there as I read my story fresh each time, watching that meter, willing to (playfully) make
... See more