If I was writing about an academic or a more difficult person, I would use the Latinate vocabulary more, but I do think Anglo-saxon is the language of emotion.
To observe the world carefully, to write a lot and often, on a schedule if necessary, to use the dictionary a lot, to look up word origins, to analyze closely the work of writers you admire, to read not only contemporaries but writers of the past, to learn at least one foreign language, to live an interesting life outside of writing.
I don't believe a good poet is very often deliberately obscure. A poet writes in a way necessary to him or her; the reader may then find the poem difficult.
I think the close work I do as a translator pays off in my writing - I'm always searching for multiple ways to say things.
Part of my mind is working on how to end the thing while I'm going on. You need at least two brains to write.
I would recommend, definitely, developing a 'day job' that you like - don't expect to make money writing!
The style developed over decades, really, but I started out writing pretty traditional stories, then became impatient. It was a writer named Russell Edson who showed me that one could write in any way at all.
I do see an interest in writing for Twitter. While publishers still do love the novel and people do still like to sink into one, the very quick form is appealing because of the pace of life.
That's the interesting thing about writing. You can start late, you can be ignorant of things, and yet, if you work hard and pay attention you can do a good job of it.
I don't pare down much. I write the beginning of a story in a notebook and it comes out very close to what it will be in the end. There is not much deliberateness about it.
I worked more intensively hour after hour when I was starting out [writing]. More laboriously. I'd say quantity is important as well as quality, and if you're not producing enough, make a schedule and stick to it.
I started writing the one-sentence stories when I was translating 'Swann's Way.' There were two reasons. I had almost no time to do my own writing, but didn't want to stop. And it was a reaction to Proust's very long sentences.
I think a lot of what goes into writing can be taught - not mixing metaphors, etc.
The translator ... Peculiar outcast, ghost in the world of literature, recreating in another form something already created, creating and not creating, writing words that are his own and not his own, writing a work not original to him, composing with utmost pains and without recognition of his pains or the fact that the composition really is his own.
Because I'm not writing all the time (thank goodness), my mind is sometimes pleasantly blank.
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