Monologue to the Maestro: A High Seas Letter Esquire: October 1935 It seemed that all his life he had wanted to be a writer. Brought up on a farm he had gone through high school and the University of Minnesota, had worked as a newspaper man, a rough carpenter, a harvest hand, a day labourer, and had bummed his way across America twice. He wanted to be a writer and he had good stories to write. He told them very badly but you could see that there was something there if he could get it out. He was so entirely serious about writing that it seemed that seriousness would overcome all obstacles. He had lived by himself for a year in a cabin he had built in North Dakota and written all that year. He did not show me anything that he had written then. It was all bad, he said.
I thought, perhaps, that this was modesty until he showed me a piece he had published in one of the Minneapolis papers. It was abominably written. Still, I thought, many other people write badly at the start and this boy is so extremely serious that he must have something; real seriousness in regard to writing being one of the two absolute necessities. The other, unfortunately, is talent.
Besides writing this young man had one other obsession. He had always wanted to go to sea. So, to shorten this account, we gave him a job as night watchman on the boat which furnished him a place to sleep and work and gave him two or three hours' work each day at cleaning up and a half of each day free to do his writing. To fulfil his desire to go to sea, we promised to take him to Cuba when we went across.
He was an excellent night watchman and worked hard on the boat and at his writing but at sea he was a calamity; slow where he should be agile, seeming sometimes to have four feet instead of two feet and two hands, nervous under excitement, and with an incurable tendency toward sea-sickness and a. peasant reluctance to take orders. Yet he was always willing and hard working if given plenty of time to work in.
We called him the Maestro because he played the violin, this name was eventually shortened to the Mice, and a big breeze would so effectually slow up his co-ordination that your correspondent once remarked to him, 'Mice, you certainly must be going to be a hell of a good writer because you certainly aren't worth a damn at anything else.'
On the other hand his writing improved steadily. He may yet be a writer. But your correspondent, who sometimes has an evil temper, is never going to ship another hand who is an aspirant writer; nor go through another summer off the Cuban or any other coast accompanied by questions and answers on the practice of letters. If any more aspirant writers come on board the Pilar let them be females, let them be very beautiful, and let them bring champagne.
Your correspondent takes the practice of letters, as distinct from the writing of these monthly letters, very seriously; but dislikes intensely talking about it with almost anyone alive. Having had to mouth about many aspects of it during a period of one hundred and ten days with the good old Maestro, during much of which time your correspondent had to conquer an urge to throw a bottle at the Mice whenever he would open his mouth and pronounced the word writing, he hereby presents some of these mouthings written down.
If they can deter anyone from writing he should be deterred. If they can be of use to anyone your correspondent is pleased. If they bore you there are plenty of pictures in the magazine that you may turn to.
Your correspondent's excuse for presenting them is that some of the information contained would have been worth fifty cents to him when he was twenty-one.
Mice: What do you mean by good writing as opposed to bad writing?
Your correspondent: Good writing is true writing. If a man is making a story up it will be true in proportion to the amount of knowledge of life that he has and how conscientious he is; so that when he makes something up it is as it would truly be. If he doesn't know how many people work in their minds and actions his luck may save him for a while, or he may write fantasy. But if he continues to write about what he does not know about he will find himself faking. After he fakes a few times he cannot write honestly any more.
Mice: Then what about imagination?
Y.C.: Nobody knows a damned thing about it except that it is what we get for nothing. It may be racial experience. I think that is quite possible. It is the one thing beside honesty that a good writer must have. The more he learns from experience the more truly he can imagine. If he gets so he can imagine truly enough people will think that the things he relates all really happened and that he is just reporting.
Mice: Where will it differ from reporting?
Y.C.: If it was reporting they would not remember it. When you describe something that has happened that day the timeliness makes people see it in their own imaginations. A month later that element of time is gone and your account would be flat and they would not see it in their minds nor remember it. But if you make it up instead of describing it you can make it round and whole and solid and give it life. You create it, for good or bad. It is made; not described. It is just as true as the extent of your ability to make it and the knowledge you put into it. Do you follow me?
Mice: Not always.
Y.C. (crabbily): Well for chrisake let's talk about something else then.
Mice (undeterred): Tell me some more about the mechanics of writing.
Y.C.: What do you mean? Like pencil or typewriter? For chrisake.
Mice: Yes.
Y.C.: Listen. When you start to write you get all the kick and the reader gets none. So you might as well use a typewriter because it is that much easier and you enjoy it that much more. After you learn to write your whole object is to convey everything, every sensation, sight, feeling, place and emotion to the reader. To do this you have to work over what you write. If you write with a pencil you get three different sights at it to see if the reader is getting what you want him to. First when you read it over; then when it is typed you get another chance to improve it, and again in the proof. Writing it first in pencil gives you one-third more chance to improve it. That is .333 which is a damned good average for a hitter. It also keeps it fluid longer so that you can better it easier.
Mice: How much should you write a day?
Y.C.: The best way is always to stop when you are going good and when you know what will happen next. If you do that every day when you are writing a novel you will never be stuck. That is the most valuable thing I can tell you so try to remember it.
Mice: All right.
Y.C.: Always stop while you are going good and don't think about it or worry about it until you start to write the next day. That way your subconscious will work on it all the time. But if you think about it consciously or worry about it you will kill it and your brain will be tired before you start. Once you are into the novel it is as cowardly to worry about whether you can go on the next day as to worry about having to go into inevitable action. You have to go on. So there is no sense to worry. You have to learn that to write a novel. The hard part about a novel is to finish it.
Mice: How can you learn not to worry?
Y.C.: By not thinking about it. As soon as you start to think about it stop it. Think about something else. You have to learn that, Mice: How much do you read over every day before you start to write?
Y.C.: The best way is to read it all every day from the start, correcting as you go along, then go on from where you stopped the day before. When it gets so long that you can't do this every day read back two or three chapters each day; then each week read it all from the start. That's how you make it all of one piece. And remember to stop while you are still going good. That keeps it moving instead of having it die whenever you go on and write yourself out. When you do that you find that the next day you are pooped and can't go on.
Mice: Do you do the same on a story?
Y.C.: Yes, only sometimes you can write a story in a day.
Mice: Do you know what is going to happen when you write a story?
Y.C.: Almost never. I start to make it up and have happen what would have to happen as it goes along.
Mice: That isn't the way they teach you to write in college. Y.C.: I don't know about that. I never went to college. If any
sonofabitch could write he wouldn't have to teach writing in college. Mice: You're teaching me.
Y.C.: I'm crazy. Besides this is a boat, not a college.
Mice: What books should a writer have to read?
Y.C.: He should have read everything so he knows what he has
to beat.
Mice: He can't have read everything.
Y.C.: I don't say what he can. I say what he should. Of course he can't.
Mice: Well what books are necessary?
Y.C.: He should have read War and Peace and Anna Karenina by Tolstoi, Midshipman Easy, Frank Mildmay and Peter Simple by Captain Marryat, Madame Bovary and L'Education Sentimentale by Flaubert, Buddenbrooks by Thomas Mann, Joyce's Dubliners, Portrait of the Artist and Ulysses, Tom yones and Joseph Andrews by Fielding, Le Rouge et le Noir and La Chartreuse de Parme by Stendhal, The Brothers Karamazov and any two other Dostoevskis, Huckleberry Finn by Mark Twain, The Open Boat and The Blue Hotel by Stephen Crane, Hail and Farewell by George Moore, Yeats's Autobiographies, all the good De Maupassant, all the good Kipling, all of Turgenev, Far Away and Long Ago by W. H. Hudson, Henry James's short stories, especially Madame de Mauves, and The Turn of the Screw, The Portrait of a Lady, The American
Mice: I can't write them down that fast. How many more are there?
Y.C.: I'll give you the rest another day. There are about three times that many.
Mice: Should a writer have read all of those?
Y.C.: All of those and plenty more. Otherwise he doesn't know what he has to beat.
Mice: What do you mean 'has to beat'?
Y.C.: Listen. There is no use writing anything that has been written before unless you can beat it. What a writer in our time has to do is write what hasn't been written before or beat dead men at what they have done. The only way he can tell how he is going is to compete with dead men. Most live writers do not exist. Their fame is created by critics who always need a genius of the season, someone they understand completely and feel safe in praising, but when these fabricated geniuses are dead they will not exist. The only people for a serious writer to compete with are the dead that he knows are good. It is like a miler running against the clock rather than simply trying to beat whoever is in the race with him. Unless he runs against time he will never know what he is capable of attaining.
Mice: But reading all the good writers might discourage you.
Y.C.: Then you ought to be discouraged.
Mice: What is the best early training for a writer?
Y.C.: An unhappy childhood.
Mice: Do you think Thomas Mann is a great writer?
Y.C.: He would be a great writer if he had never written another thing than Buddenbrooks.
Mice: How can a writer train himself?
Y.C.: Watch what happens today. If we get into a fish see exactly what it is that everyone does.
If you get a kick out of it while he is jumping remember back until you see exactly what the action was that gave you the emotion. Whether it was the rising of the line from the water and the way it tightened like a fiddle string until drops started from it, or the way he smashed and threw water when he jumped. Remember what the noises were and what was said. Find what gave you the emotion; what the action was that gave you the excitement. Then write it down making it clear so the reader will see it too and have the same feeling that you had. That's a five finger exercise.
Mice: All right. ,
Y.C.: Then get in somebody else's head for a change. If I bawl you out try to figure what I'm thinking about as well as how you feel about it. If Carlos curses Juan think what both their sides of it are. Don't just think who is right. As a man things are as they should or shouldn't be. As a man you know who is right and who is wrong. You have to make decisions and enforce them. As a writer you should not judge. You should understand.
Mice: All right.
Y.C.: Listen now. When people talk listen completely. Don't be thinking what you're going to say.
Most people never listen. Nor do they observe. You should be able to go into a room and when you come out know everything that you saw there and not only that. If that room gave you any feeling you should know exactly what it was that gave you that feeling. Try that for practice. When you're in town stand outside the theatre and see how the people differ in the way they get out of taxis or motor cars. There are a thousand ways to practise. And always think of other people.
Mice: Do you think I will be a writer?
Y.C.: How the hell should I know? Maybe you have no talent. Maybe you can't feel for other people. You've got some good stories if you can write them.
Mice: How can I tell?
Y.C.: Write. If you work at it five years and you find you're no good you can just as well shoot yourself then as now.
Mice: I wouldn't shoot myself.
Y.C.: Come around then and I'll shoot you.
Mice: Thanks.
Y.C.: Perfectly welcome, Mice. Now should we talk about some
thing else?
Mice: What else?
Y.C.: Anything else, Mice, old timer, anything else at all. Mice: All right. But
Y.C.: No but. Finish. Talk about writing finish. No more. All gone
for today. Store all close up. Boss he go home.
Mice: All right then. But tomorrow I've got some things to ask
you.
Y.C.: I'll bet you'll have fun writing after you know just how it's done.
Mice: What do you mean?
Y.C.: You know. Fun. Good times. Jolly. Dashing off an old
masterpiece.
Mice: Tell me
Y.C.: Stop it.
Mice: All right. But tomorrow
Y.C.: Yes. All right. Sure. But tomorrow.
Hemingway is usually right. This may be truthfull inspiration to ye'all.
Al Mingus 1st post
