The best advice I ever got as a writer was an off-hand comment Hemingway once made: Write drunk, edit sober. I often use that quote in workshops and on writing panels at conventions.
Of course, like all things in literature, it shouldn’t be taken literally. It is a metaphor for writing without inhibition, with passion and emotion. Hemingway also claimed that writing was easy; just sit at a typewriter and bleed.
I’ve read a lot of well-crafted fiction and I can always tell when the writer hasn’t bled in the process of making it. Restraint in the creative process always carries with it the faint stench of cowardice. As a writer or any other type of artist, you need to take risks – put things out there without censoring your thoughts, words or emotions. Say anything, feel everything – at least in your first draft.
Of course, throwing everything on the page doesn’t mean it has to stay there. Editing sober is as important as writing drunk. Then you have to exercise your craft, your understanding of what belongs and what is excess. Not everything we write when we write a story needs to be in that particular tale. It may not belong anywhere in your published work. But if you don’t tell your secrets even to your first draft, your work will always have the feeling of contrivance rather than creation. Well-crafted sentences are good – unless they are boring.
Frankly, creation is a messy business.
But how do you do it? How do you turn off the inner editor and let it all hang out? Practice is the best answer I can give you. Keep trying to write as if no one is reading and after a while you may get the hang of it. Write fast is another solution. Thomas Wolfe was known to write 10,000 words a day on occasion. By hand. No wonder he died young.
Hemingway himself was more restrained. According to his own records, he ranged from 500 to 2000 words a day – also mostly by hand when he was doing first drafts – at least on the days he was writing at all. He went for weeks or even months at a time without putting pen to paper, sometimes arguing that he had to let things ferment until the writing demanded to be done. But even when he was writing, he was only going at it for a couple of hours each day – always stopping when it was going well and he knew what was coming next.
Scott Fitzgerald took another tack. He suffered. He struggled. And when he put it down on paper, it was all filtered through that pain. Sylvia Plath was said to have taken the same approach.
Of course, it might not wise to follow the advice of these writers too closely. They all died young – Hemingway was about my age when he ended it all. The rest didn’t even come close.
Still, no guts no glory. If you are not willing to suffer for your work, you can hardly expect readers to respond with anything more than superficial emotion.
Now, if you’ll excuse me, I have to go check on my supply of bourbon.
And, that’s ten minutes.