January 28, 2010I write in terror. I have to talk myself into bravery with every sentence, sometimes every syllable –Cynthia Ozick
I took exactly one class in writing. It was about fifteen years ago at the community college and was taught by a real published author whose name I cannot recall. But she was published, and as far as I was concerned that was all the credentials she needed.
The first class turned out to be the most useful. That’s not to say the instruction given in the proceeding eleven weeks of the course wasn’t useful. It was. But that first night alone was worth the money.
The twenty or so people in the class formed a semi-circle around the professor, who stood in behind a wooden podium that was much more intimidating than she. We sat at attention, notebooks ready, eager to have our heads filled with the hidden secrets of literary success.
“Tell me,” she said, “what does one need to write?”
The more outgoing among the class were quick with suggestions:
“Connections.” (That one was met with a nervous chuckle from the rest of the class.)
Each was met with an approving nod and so was written down by everyone, myself included. But that really wasn’t what she wanted to hear.
“Those are good suggestions,” she said, “but you’re leaving the most important aspect out. Anyone?”
“Courage,” she said.
I didn’t really understand that and snickered under my breath. Courage? Soldiers needed courage. Cops needed courage. EMTs and stunt men and bullfighters. But writers? Sitting on your butt and typing on a keyboard did not take courage.
“There are some who might disagree with that,” she said—and to this day I swear she looked at me when she said it—“and I understand. You disagree because you’re writing with your clothes on. By the time you leave here, you’ll be writing naked.”
I’ll admit I almost walked out then. I’d heard about kooky writing classes given by kooky professors who did some pretty strange things in the name of “art.” I was afraid if I stuck around I’d end up dressed in a blue tracksuit with a cup of Kool-Aid in my hand because a comet was passing by to take me to heaven.
I stayed in my seat on the whim she was speaking metaphorically.
“There is no greater fear than to face a blank page,” she said. “It mocks and threatens. It challenges you. Give it power, and it will eat you alive. Face it clothed, and you will fail. The only way to beat the blank page is to attack it naked.”
Twelve of the twenty students raised their hands.
“Wait, wait,” she said, moving her hands in a downward motion. “No, I’m not speaking literally. But I’m not joking, either. Let me ask you something else. Why do people write?”
More hands in the air, which she chose to ignore.
“People write because they must. Because there is a story inside them that is meant to be shared with the world. But having that story inside you doesn’t make you a writer. How you tell that story does. And you tell it through honesty.”
She told us to put our pens down and just listen.
“Writers fail because they come to the page fully clothed. They adorn themselves with fanciful plots and layer themselves with complicated character development. They use flowery prose and words you have to look up in the dictionary. They do this not to impress their readers, but to keep their readers at arm’s length. They’re afraid. Afraid to bare their souls and inject themselves into their work. For that they are cowards.
“Don’t simply tell me that faith saves you, tell me how it almost failed you, too. Don’t tell me about love, speak of your passion. Don’t tell me you’re hurt, let me see your heart breaking. I don’t want to see your talent on the page, I want to see your blood. Dare to be naked before your readers. Because that is writing, and everything else is worthless crap.”
I’ll always remember that. In fact, written on an index card taped to my lamp are these two words—Be Naked. Because she was right, that’s what writing is all about. Fiction or non, poetry or devotional, funny or serious, it doesn’t matter. Our calling is still the same:
To bare ourselves so we may be the mirror the world holds to itself.
The Curse of Crow Hollow
“Coffey spins a wicked tale . . . [The Curse of Crow Hollow] blends folklore, superstition, and subconscious dread in the vein of Shirley Jackson’s ‘The Lottery.’”
Available online and your local bookstore.