Grand-Theft Author

T.S. Eliot said, “Good writers borrow; great writers steal.” But the question is, what’s the difference?

When you borrow in writing, you allow the originator to maintain ownership of the idea by providing an allusion to the original text or giving the source as a direct quotation. You let it be known that this idea you’re using, it’s not yours; you’re just borrowing it.

But when you steal in writing, you take the original idea and make it your own. I’m not talking about plagiarism or copyright theft, both of which are unforgivable; instead, I’m talking about letting the original idea marinate inside your soul until it takes on the unique flavor of you.

Let’s put this in musical terms by looking at two different covers of Bob Dylan’s “All Along the Watchtower.”

The first cover, by Richie Havens, increases the rhythm a little bit, but the song remains essentially the same. Havens borrows the tune from Dylan, rather than stealing it.

Jimi Hendrix, however, steals the song outright.

Comparing Dylan’s version to Hendrix’s for the American Musicological Society, Albin Zak III writes:

There is little in Dylan’s recording of the song—a spare, folklike acoustic rendition—that would seem to have invited either Hendrix’s flamboyant electrified version or its eclectic attitude. Although Hendrix’s “All along the Watchtower” contains all of the song’s basic elements and retains its theme of alienation and apprehension, its affective sense is altogether different. While Dylan’s is a stark glimpse of an overheard fragment reported in the third person, Hendrix’s is wrought in large dramatic gestures in which he, though ostensibly the song’s narrator, appears to have an overtly protagonistic role. In both versions, the song’s characters, a joker and a thief, may be seen as facets of the artist’s persona, two sides of an internal dialogue. But…Dylan’s arrangement imparts an air of detachment, while Hendrix, in deepening the musical problem both sonically and syntactically, situates himself firmly at the center of the song.

In taking on Dylan’s song, Hendrix does not provide a veritable note-for-note remake like Peter, Paul, and Mary’s covers of Dylan’s songs, nor a slightly stylized remake, like Richie Havens. Instead, he takes the song into the core of his being until it becomes his and his alone, a sonic scream that Dylan couldn’t have pulled off in his wildest dreams.

And now when people do covers of “All Along the Watchtower,” they bypass Dylan’s original and aim instead for Hendrix.

Because he stole that song, claimed ownership, made it his. And that’s what makes it great.

You should do the same.

Reader: write thyself!

“It’s impossible to recognize a tipping point until it’s behind you, but I suspect that we may be able to look back and see something shift right around now…We are no longer monogamous readers, loyal to a single source; rather, we read voraciously, looking for patterns, teasing out the things that matter to us, making connections, and then (often) writing about them ourselves.” — Mandy Brown

Steal from the ugly stepchildren

“As literature gets smart enough to operate in a spirit of aesthetic openness and generosity, and borrows more broadly from art, philosophy, video games, microbudgeted films from Sweden and Singapore, minimalist installations, conceptual thises and thats, may its practitioners also be smart enough to look in the seldom opened cabinets out in the garage, where the ugly stepchildren stashed the treasures hoping someone would find them.” — Kyle Minor on finding appropriable lessons from “non-literary” writers

Type until you feel something

“It’s not really writing until you feel something; until you choke up at a thought, until you start fidgeting in your seat in excitement, until you feel the twinge of pain that happens when a thorn is pulled out of your side. Go back. Delete everything before you started fidgeting or crying or deflating like a balloon. Then, write some more.” — Frank Chimero

Thanks writers, but we’re good with the books we got.

“We are not so good at developing great writers, it is true, but why is this? It is simply because we don’t need them. We still have Shakespeare. We still have Thomas Hardy and Charles Dickens and Robert Louis Stevenson; their books are still around. We don’t genuinely need more literary geniuses. One can only read so many books in a lifetime.” — Bill James

Writing A Fight Sequence

Beginning fiction writers have difficulty expressing the momentum of a high-energy fight sequence without their sentences taking on a breathless pace that is heavy in ellipses and light in detail. They forget that fight sequences require the same richness of language as a passage where their protagonist stares out into the rain.

Take, for an example of a fight sequence done right, the outbreak of the battle for Helm’s Deep from Tolkien’s The Two Towers.

In this scene, an army of Elves and men are fighting a fortified battle against a great host of Orcs, a host as “thick as marching ants.” The Orcs come to a halt before the high walls of Helm’s Deep, and the Elves and men “looked out, as it seemed to them, upon a great field of dark corn, tossed by a tempest of war, and every ear glinted with a barbed light.”

Brazen trumpets sounded. The enemy surged forward, some against the Deepening Wall, others towards the causeway and the ramp that led up to the Hornburg-gates. There the hugest Orcs were mustered, and the wild men of the Dunland fells. A moment they hesitated and then on they came. The lightning flashed, and blazoned upon every helm and shield the ghastly hand of Isengard was seen. They reached the summit of the rock; they drove toward the gates.
 
Then at last an answer came: a storm of arrows met them, and a hail of stones. They wavered, broke, and fled back; and then charged again, broke and charged again; and each time, like the incoming sea, they halted at a higher point. Again trumpets rang, and a press of roaring men leaped forth. They held their great shields above them like a roof, while in their midst they bore two trunks of mighty trees. Behind them orc-archers crowded, sending a hail of darts against the bowmen on the walls. They gained the gates. The trees, swung by strong arms, smote the timbers with a rending boom. If any men fell, crushed by a stone hurtling from above, two others sprang to take his place. Again and again the great rams swung and crashed.

Beginning writers should note that Tolkien does not abandon the powers of metaphor and simile when the battle begins. The enemy “surges”; the arrows are a “storm” and the stones a “hail”; the enemy takes control of the gates slowly, but fatefully, “like the incoming sea”; they hold their shields above them “like a roof” and send “a hail of darts” against the defenders above the gates.

Tolkien does not narrate the action with objective descriptions; he colors his language with the same mythic vocabulary that he has established over the previous 800 pages of The Lord of the Rings. Trumpets are brazen, lightning is flashing, sigils are ghastly, men are roaring and leaping and springing, trunks are mighty, arms are strong, timbers are smote with rending booms, and great rams swing and crash. As in the previous 800 pages, he keeps the action apparent and his adjectives effusive.

Nor does Tolkien increase or decrease the enthusiasm of his narrator just because this sequence describes a fight rather than a fireside tale. His strategic use of passive sentences in the opening of the passage stalls the onrush of the action, freezing time in a lightning flash to describe the size and sigil of the evil horde, and at the end of the passage, he moves his tense to the subjunctive, posing an “if, then” statement that opens the field of his description from the moment-to-moment action and onto a wider range of time periods, one that covers both the current action and its potential: “If any men fell…, two others sprang to take his place.”

The breathlessness of the beginning writer’s fight sequence is probably due to the influence of cinema. Because a movie camera captures “truth 24 frames-per-second,” beginning writers think their fight sequences have to describe every thrust and parry at the speed of time. They forget the power they have as writers to stop, slow down, and speed up the movement of their world.

If the influence of film is to blame, beginning writers should, perhaps, look to the more cinematically-adventurous fight sequences for inspiration. Directors such as Zack Snyder and The Wachowskis capture in incredible sequences the temporal freedom awarded by poetic license (see this sequence from Snyder’s 300). These directors are doing in film what writers from Tolkien to Homer have long since done with words: freezing time to focus the mind’s eye.

So, beginning writers of fight sequences: stop using ellipses, stop using incomplete sentences, and focus, instead, on capturing the beautiful ballet of battle.