Written by Dikkon Eberhart
Dad was prominent as a poet. When I was young, I longed not to be a poet.
I’d be anything—a quarterback, an FBI agent, a ship captain. But in my soul, I knew I would be a chip off Dad’s block. Alas, I was a word-smith, too.
So I watched Dad, to learn how.
Read, read, read.
Read any style, content, genre, author, date—it doesn’t matter.
“We pour our souls into these words, Dikkon. You need to learn to identify writing that’s worth that effort and writing that’s not.”
Once, after Dad breezed through an erotic novel I showed him, drily he responded, “Chaucer did it better.”
“I can’t write it,” I moaned, regarding my short story assignment in high school. “It’s too hard!”
Dad caught Mom’s urging eye, put down his pipe, and asked me, “What’s your story about?”
“When they’re choosing up teams, the boy wants to be picked first but maybe he won’t be.”
“I don’t know! Maybe he isn’t picked first, but maybe he hits the home run. It’s due tomorrow!”
“Try making the story about his thoughts.”
“About his thoughts?”
“Yes. Try starting with the word ‘maybe.’” Dad grinned. “Maybe the story is about maybe.”
So I wrote the story and submitted it on time. Its first sentence was “Maybe I’ll be picked first but maybe not.”
Bring the reader in.
“Do you like it?” Dad asked.
“Not what I asked.”
“Then, no. It’s boring.”
“Do you think maybe the author’s just writing for himself and maybe for his closest friends?”
I hadn’t thought of that as a possibility. The author was a major name in modernist English fiction—the focus of my college class.
Dad pressed on, “Do you think it’s important that you be drawn in?”
“You’re his reader, aren’t you?”
I laughed. “I wouldn’t be his reader, not if I could help it.”
“So…that’s my point. Yes, the reader must come to the writer, but the reader only will come to the writer if he’s drawn in, not forced in.”
“That’s not happening here.”
“So when you’re a writer….”
I nodded. “Bring ‘em in.”
Don’t go to sleep until you know what happens next.
“No,” Dad said. “I don’t believe in writer’s block.”
“It’s my first novel, Dad. I can’t get past the point where I am. You’re a poet, not a novelist. How could you know?”
“What’s the last scene you wrote?”
I told him.
“Go back and write it again.”
“What’s wrong with it?”
“Doesn’t matter. Probably nothing. But write it again—create it again. Your juices will begin to flow again, and you’ll speed on.”
Turns out he was right—I sped on.
Don’t let it fester.
I called Dad. Two days before, I had finished my second novel, doing its last sixty pages in an eighteen-hour burst of ecstatic—almost holy—writing. “It’s done, Dad.”
“Of course. Get a rest.”
“Of course. So…what’s next?”
“I read it over. I think it’s good. Gotta do some tweaks.”
“Do that. But then—get it off your desk.”
“What do you mean?”
“Don’t let it fester. Get it out into the world. If you tweak it too much, you could kill it. Now let an editor tell you what to do. ”
HERE’S A BONUS!
A Sixth Thing I Learned
Sitting in our garden, Robert Frost turned to me and remarked, “Dikkon, the work of the poet is to write at least one single poem that they can’t get rid of. They’ll try. But don’t let ‘em.”
© – Dikkon Eberhart, 2016
8/31/2016 09:06:35 pm
"Maybe the story is about maybe." I love this line. Thank you for sharing your thoughts and experiences.
9/2/2016 10:03:32 am
Thank you, April. Dad did see to the core of the issue, sometimes in ways that startled me as a youngster--as here. His idea about "maybe" worked!
9/12/2016 02:09:12 pm
Thanks for sharing these practical and wise principles, Dikkon. I love your writing style, too.
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