How to Become What You Want to Be

“If you want to be a writer, you have to write.”

I was 16 years old when my father said those kind-and-cruel words to me. I never forgot them.

The first time I can remember wanting to be a writer, I was 11 or 12 years old. I’d written a poem for Sister Mary Something at school. My rhyming quatrain (AABB) was titled, pretentiously, “How Do I Know the World Is Real?”

I was at the kitchen table when my father started reading it over my shoulder. I felt anxious. My father was a credentialed writer, an award-winning playwright, a Shakespearean scholar, and a teacher of literature, including poetry. I’d seen him, on Saturday mornings, hunched over student essays, muttering and occasionally reading out loud passages to my mother that sounded perfectly good to me but elicited derisive laughter from them.

My father understood the secret-to-me clues of good writing. I didn’t feel at all comfortable having my fragile young poem exposed to the awesome danger of his critical mind. So there I sat, hoping he would go away. But he didn’t. I felt his hand on my shoulder, gentle and warm. “You may have a talent for writing,” he said.

I wrote lots of poetry in the months that followed, and began to think of myself as a writer. I liked that feeling. But soon other interests – touch football, the Junior Police Club, girls – crowded themselves into my life. Gradually, I wrote less and less. I still yearned to be a writer and so I began to feel guilty about not writing.

To assuage my guilt, I promised myself that my other activities were “life experience,” and that I needed life experience to become the good writer I wanted to be. In developing this excuse for not writing, I was building a structure of self-deception that many people live inside when they abandon their dreams. From the outside, it looks like you are doing nothing. But from the inside, you know that you are in the process of becoming, which, you convince yourself, is the next best thing to being.
That was the shape of my delusion when my father said, “If you want to be a writer, you have to write. A writer is someone who writes.”

So many people live their lives failing to become what they want to be because they can’t find the time to get started. How many times have you heard someone say that, one day, they will do what they always wanted to do – travel the world or paint paintings or write a book? And when you hear sentiments like those, what do you feel? Happy because you are confident that one day they will accomplish their long-held goal? Or sort of sad for them because you are pretty sure they never will?

And what about you? What is it that you want to be but haven’t become? What goal or project or task do you keep talking about accomplishing yet never do?

When my father told me that “writers write,” he was saying two things:

  • I had lost the right to call myself a writer when I stopped writing.
  • I could regain the title the moment I started writing again.

If you spend a while ruminating on this, you may find it both disturbing and liberating.

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How to Become a “Really” Good Writer

There is nothing good writers like to argue about more than what constitutes good writing.

In my 30+ years in the publishing business I have taken part in my share of arguments about good writing. Many of them were lively. But few, if any, were ever resolved.

Of course you can’t agree on what’s good about anything unless you begin with a definition of “good” that is both mutually agreeable and objective. Put differently, it’s impossible to have a useful discussion of good if by good you mean “It pleases me.”

Three people read Walt Whitman’s I Sing the Body Electric.

One person says it isn’t any good because the meter is awkward and because it does not rhyme. “I like only poetry that is regular and rhymes,” he says.

The second person says the poem is great because it evokes beautiful images. He quotes snippets: “The bodies of men and women engirth me” and “framers bare-armed framing a house.”

The third person says it’s “just okay.” What pleases him about poetry is what Ezra Pound called melopoeia – the emotional impact of the musicality of the language. “I got some of that from the poem,” he says, “but not enough.”

Such conversations are dead from the start because they don’t have an objective measure of “goodness” everyone can agree on.

But most discussions about good writing are worse than that because the participants don’t even articulate their underlying preferences. Indeed, they may not even be aware of them.

The ancient Greeks had similarly volatile discussions about what constitutes good drama. They, too, had lots of strongly held opinions but no objective criteria on which to posit their opinions. In 335 BC, Aristotle solved this problem with history’s greatest essay on literary theory: The Poetics. In that essay he attempted to articulate what made “great” Greek theater great.

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