Freitag, 21. November 2014

Schreibblockaden: Was Journalisten dagegen tun

Heute gibt's mal wieder einen Linktipp. Bei Poynter hat Butch Ward zusammengetragen, was 14 Journalisten tun, wenn der Schreibfluss ins Stocken gerät: Got writer's block?

Mittwoch, 12. November 2014

Cory Doctorow über Writer's Block

In einem Artikel, in dem es eigentlich um Amanda Palmers neues Buch The Art of Asking geht, schildert Cory Doctorow sehr anschaulich seine eigenen Schreibblockaden und wie er sie überwindet:
For many years, I was plagued by writer's block which is best understood as the crippling fear that the words you write when you aren't "inspired" will be bad words, unworthy and irremediable words. For five terrible years in my twenties, I didn't finish a single story, though I started dozens. Eventually, with a lot of hard work, I came to realise that though when I wrote, I felt that I was either writing "good" words or "bad" words, that six months after the fact, I couldn't tell the difference. That the self-doubt and fear I felt when I was writing bad had more to do with things like my blood-sugar levels and the state of my romantic life and finances than it did with the words themselves.

I still feel that fear. It is terrible and immiserating. I'm in the last month of writing on the first draft of a 180,000 word novel, a monstrous beast that is far too large for me to hold it all conscious memory, that I can only navigate through intuition and informed guesswork. Every day, five days a week, I write one thousand new words on this book, and every day, I finish this task in dead certainty that I am destroying this book, writing unsalvageable dreck that will spoil a novel that I was so excited and hopeful about last March.

But I write on, not because I don't feel the fear, but because I have mastered it. Bravery isn't fearlessness: it is preserverence in the face of fear.
Besser kann man es, finde ich, nicht sagen. Diese Passage beschreibt meine eigenen Erfahrungen sehr treffend -- und vermutlich auch die von vielen anderen.



Sonntag, 9. November 2014

Romanfiguren: Eine zu detaillierte Vorgeschichte schränkt ein

Ich entwerfe die Vorgeschichte meiner Charaktere vor dem Schreiben nur ganz grob, denn oft ergeben sich beim Entwerfen der Story aus den Handlungen oder den Motiven für diese neue, unerwartete Facetten. Erst dann stellt sich heraus, dass zum Beispiel Geschehnisse in der Vergangenheit oder ein Konflikt mit der Mutter eine Figur das tun lassen, was sie tut.

Daran wurde ich erinnert, als ich ein Interview mit der Drehbuchautorin Barbara Hall las (Judging Amy und Madam Secretary). Hier die Antwort, die sie auf eine entsprechende Frage gab:
I don't have a deep bible [Serienbibel] because I don't like to hold myself to that. One of the best things about doing a TV series is the fact that you can let it evolve and it lives and breathes. What happens is you discover your strengths and weaknesses, and you see how actors are together, and you see how their characters develop. I don't want to limit myself to something that's planned too far in advance. I like to let it have a life of its own. 
Aaron Sorkin hat vor Jahren einmal etwas Ähnliches gesagt, in Bezug auf President Bartlet (und dessen Kindheit) in seiner Serie The West Wing. Leider finde ich das Interview/den Artikel nicht mehr ...

PS: Kurz darauf entdeckte ich übrigens auf derselben Website eine Gegenstimme. Theodore Melfi meint in dem betreffenden Interview
I also do a thing called 50 questions, which is an old acting exercise. What you do is you take each character and you answer fifty questions on their life before you start writing a word about them. This is what actors do ... It’s a lot of work. It’s like, where were you born, what do your parents do for a living, what makes you laugh, what makes you cry. Fifty questions on every single character.
...You occasionally have to be flexible. Occasionally you go, “Well, it doesn’t work that he was born in Springfield, Missouri, he really needed to be born here” and you just change it. The fifty questions is just a thing to spur your creativity and give you a general understanding of each character. It’s actually best for writing their dialogue because you know their fabric. ... You know, he wouldn’t do that because he was actually a war vet… You do have amendments that you have to make all along the way because that’s just the process of it.
...what’s the biggest problem as writers we face all the time? Every character sounds the same. Right?
...So if you do the 50 questions, you will have a reality for each character. They won’t talk the same way because you have simply absorbed who they are into your subconscious. 
Man beachte, dass es "eine Menge Arbeit" ist und Melfi sich im Zweifelsfall nicht an die Vorgaben gebunden fühlt.

Fazit: Jeder Autor ist anders und jede (Schreib)Situation möglicherweise auch. Ich denke, wie so oft geht Probieren über Studieren.