I recently read a book, while directed towards writers, is recommended for all creative fields. If You Want to Write: A Book about Art, Independence and Spirit, by Brenda Ueland, was written in 1938 and as such, has a quaintness in the way she capitalizes ideas (though I dislike the many footnotes on each page) and refers to William Blake and Leo Tolstoy like they are contemporaries. She was actually in the same circle of Greenwich Village writers that included Nobel laureate Eugene O'Neill. However, I found the book to be more about teaching writing than a manual on how to write.
I remarked recently that in teaching game design, it would be preferable if teachers were able to guide students towards revelations rather than spell them out, and that seems to be the route Ueland suggests. Her thesis is that everyone is creative, but the creativity inherent in everyone can be broken by harsh criticism, preconceived notions of what is the right or wrong way to be creative, and brutal rejection. She writes a lot about one student, who had absolutely no background in writing and didn't even have conversations about literature, who would soon deliver writing on par with or surpassing, in Ueland's opinion, public figures like John Steinbeck and Eleanor Roosevelt.
For example, regarding her student's first endeavor, Ueland noted that her vacation diary was more of a travelogue and didn't include personal feelings or impressions. Instead of saying "You must be more careful to put in more personal details" because that would undoubtably lead to boring sentences like "I really enjoyed the view," Ueland enthusiastically gushed, "Tell more. Tell everything you can possibly think of. You speak here of this truck driver whose tight clothes fitted him like the skin of a bulldog... How extraordinary!... What makes you think he felt that way about his wife?"
At first, I thought Ueland was simply a person who didn't criticize, but it became apparent in the next few chapters that she was very capable of tearing apart the work of already published writers or popular writers. She felt that those who had studied too much (and apparently under bad teachers) were the ones most likely to write in an affected way. Her purpose in this criticism, she wrote, was not to point out the defects of other writers, but to emphasize her point that even those without training can end up writing better than published writers. It would be quite normal for a teacher to show off published writers and tell students to emulate that kind of work, but that would be worthless in Ueland's view. To her, one writer's Truthfulness is not the same as another's Truthfulness.
Another chapter is about the storyteller's connection to the listener. Just like game designers will think about player experience, Ueland advised writers to have an imaginary listener and imagine how the listener reacts and stays rapt. Some writers write for themselves, but Ueland would find it boring to read a "long, long book, four-fifths full of your own psychological writhings, your own entrails all pinned out on the surgical table" where the writer was in essence talking to him or herself. She relayed how Chekhov chastised his brother: "You are not writing for the reader. You wrote because that chatter pleased you."
Ueland's book has been reprinted through the decades because many regard it as one of the finest books about writing ever written. I found it interesting and contemplative. What inspiring books have you found helpful and worthy of attention?
Sande Chen is a writer and game designer whose work has spanned 10 years in the industry. Her credits include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher, and Wizard 101. She is one of the founding members of the IGDA Game Design SIG.
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