There’s only four things here because:
From The Hundreds by Lauren Berlant, which can apply to anything:
Once, I needed the perfect time and place to write. I stood in my way like a poison-pen letter to myself. But slowly, under the velocities of worldy reals that came and went, I learned to write in my own skin, like it or not.
Making money, making dinner, taking care of people and stupid shit, getting sick or getting well, getting into and out of what presented, I ended up with a writer’s life. I learned to write in thirty-minute episodes on my frail mother’s dining room table with a three-year-old playing with old plastic toys underfoot. I took notes on my phone at a doctor’s office. I started the day writing in bed even though I had only ten minutes. Over time, I became allergic to the long-winded and roundabout, cutting words down to size. But then I’d become attached to a word fern shooting up in the space between words or I’d be surprised by something energetic already somehow taking off.
Some people have long, lean writing muscles; mine are shortened and taut like a repetitive stress injury turned into a personal tendency. I can write anywhere now but not for long, and it’s only in the morning that I have that kind of energy and interest.
Things are usually in my way but that’s the thing about writing.
Michael Nielsen, Outlining:
And when I actually write, I can see why: I’ll write a sentence that seemed obvious, then realize it’s a little off, not quite true. Then realize that it’s wrong in an important way. And I’ll improve my understanding, and write something more true. And it’ll change the whole rest of the argument, sometimes in subtle ways, sometimes completely changing it. Not just later bits of the argument, either: often it changes everything. And the thing is: I can only discover this by getting right down into the guts of the issue. If I’d outlined, I would have had to throw out my outline at this point. And it happens over and over and over and over and… you get the idea. The trouble with outlining is that writing is a transformative process; I write in order to transform my own understanding. And no outline survives contact with such transformation. If an outline “worked” it would mean my understanding hadn’t been transformed; while the outline would have worked, the writing would have failed.
With dictionaries, I spend a great deal more time looking up words I know than words I have never heard of—at least ninety-nine to one. The dictionary definitions of words you are trying to replace are far more likely to help you out than a scattershot wad from a thesaurus. If you use the dictionary after the thesaurus, the thesaurus will not hurt you…
This, for example, came up while I was writing about the Atchafalaya, the huge river swamp in southern Louisiana, and how it looked from a small plane in the air. Land is growing there as silt arrives from the north. Parts of the swamp are filling in. From the airplane, you could discern where these places were, because, seen through the trees, there would be an interruption of the reflection of sunlight on water. What word or phrase was I going to use for that reflection? I looked up “sparkle” in my old Webster’s Collegiate. It said: “See ‘flash.’ “ I looked up “flash.” The definitions were followed by a presentation of synonyms: “flash, gleam, glance, glint, sparkle, glitter, scintillate, coruscate, glimmer, shimmer mean to shoot forth light.” I liked that last part, so I changed the manuscript to say, “The reflection of the sun races through the trees and shoots forth light from the water.”
In the search for words, thesauruses are useful things, but they don’t talk about the words they list. They are also dangerous. They can lead you to choose a polysyllabic and fuzzy word when a simple and clear one is better. The value of a thesaurus is not to make a writer seem to have a vast vocabulary of recondite words. The value of a thesaurus is in the assistance it can give you in finding the best possible word for the mission that the word is supposed to fulfill. Writing teachers and journalism courses have been known to compare them to crutches and to imply that no writer of any character or competence would use them. At best, thesauruses are mere rest stops in the search for the mot juste. Your destination is the dictionary.
You’ve heard kill your darlings, but have you heard, from Annie Dillard, The Writing Life:
Several delusions weaken the writer’s resolve to throw a way work. If he has read his pages too often, those pages will have a necessary quality, the ring of the inevitable, like poetry known by heart; they will perfectly answer their own familiar rhythms. He will retain them. He may retain those pages if they possess some virtues, such as power in themselves, though they lack the cardinal virtue, which is pertinence to, and unity with, the book’s thrust. Sometimes the writer leaves his early chapters in place from gratitude; he cannot contemplate them or read them without feeling again the blessed relief that exalted him when the words first appeared—relief that he was writing anything at all. That beginning served to get him where he was going, after all: surely the reader needs it, too, as groundwork. But no.
Every year the aspiring photographer brought a stack of his best prints to an old, honored photographer, seeking his judgment. Every year the old man studied the prints and painstakingly ordered them into two piles, bad and good. Every year the old man moved a certain landscape print into the bad stack. At length he turned to the young man: “You submit this same landscape every year, and every year I it on the bad stack. Why do you like it so much?” The young photographer said, “Because I had to climb a mountain to get it.”
A cabdriver sang his songs to me, in New York. Some we sang together. He had turned the meter off; he drove around midtown, singing. One long song he sang twice; it was the only dull one. I said, Vou already sang that one; let’s sing something else. And he said, “You don’t know how long it took me to get that one together.”
How many books do we read from which the writer lacked courage to tie off the umbilical cord? How many gifts do we open from which the writer neglected to remove the price tag? Is it pertinent, is it courteous, for us to learn what it cost the writer personally?