Veryln Klinkenborg on thinking up sentences.
Your job as a writer is making sentences.
Most of your time will be spent making sentences in your head.
In your head.
Did no one ever tell you this?
—Several Short Sentences About Writing
In his intense little essay August 13 in The New York Times promoting his new book, Several Short Sentences About Writing, Veryln Klinkenborg clears his throat for three paragraphs, takes a swipe at composition teachers, and unveils how beginners might learn to write. He’s a stylist I admire, so I drew near.
His essay starts in the fourth paragraph when he remarks on the chatter inside human heads. Here’s an idea, he says, give your mind some work: memorize a little poetry or prose: “Then play those passages over and over again in your memory. You now have in your head something that is identifiably ‘language,’ not merely thoughts that somehow seem unlinguistic.”
Check. The next step:
Now try turning a thought into a sentence. This is harder than it seems because first you have to find a thought. They may seem scarce because nothing in your education has suggested that your thoughts are worth paying attention to. Again and again I see in students, no matter how sophisticated they are, a fear of the dark, cavernous place called the mind. They turn to it as though it were a mailbox. They take a quick peek, find it empty and walk away.
But how many people want to think? Surely some do learn in school. (Having since read his book, I see that his beef is with institutions but goes beyond them to human mediocrity and burdensome toe-the-line group messages.) Others who want or need to think train themselves. Seven years ago when I started writing a whole book for the first time, it was fun and I was dumb—I wrote a first draft of 500 pages—but sometimes it was truly hard. One of my profound insights was that writing is difficult because it’s concentrated thought (fatuous sounding to me now, but Klinkenborg says the same thing). Long-term focused thinking isn’t easy because it’s seldom needed in daily life.
(Incidentally, I’ve noticed that after a while I can’t tell my inspired prose from the stuff I had to gut out. Mostly anyway. Klinkenborg says this, too.)
He continues with his think-system advice for baby writers (of any age, naturally):
Because you’re writing nothing down, it may seem as though you’re not writing at all. But you’re building confidence, an assurance that when you’re in the place where sentences come from—deep in the intermingling of thought and words—you’re in a place where good things usually happen. . . .
I’m repeatedly asked how I write, what my ‘process’ is. My answer is simple: I think patiently, trying out sentences in my head. That is the root of it. What happens on paper or at the keyboard is only distantly connected. The virtue of working this way is that circumstances — time, place, tools—make no difference whatsoever. All I need is my head. All I need is the moments I have.
Reading this, I thought of what a fiction writer told me last winter. Don’t confuse typing with writing. His writing—the imagining of scenes—happens the day and night before he goes to the keyboard. Now comes Klinkenborg to recommend essentially the same thing for nonfiction. There’s obvious merit in it, but we all get words on the page differently. Still, if Tiger Woods can rebuild his winning swing (at least two times), can’t a writer learn a new process? Verlyn’s perchance?
I’ve noticed that my writing goes better when I think about it the night before and when I quit the next day knowing where to resume. I’ve also noticed that in the process of working on a long piece I naturally do what he suggests, think up sentences. Or, rather, find sentences arising.
Earlier this summer I heard Joe Blair, author of the celebrated memoir By the Iowa Sea, tell an NPR interviewer that he had to learn a new writing method because he has only one hour a day free. He’s a heating-cooling contractor, as well as a husband and father. But he can think as he drives around and some at night. Blair, a graduate of the Iowa Writer’s Workshop, types like blue blazes during his allotted hour. I bet he pounds out three or four pages—maybe six. He probably doesn’t polish as he goes (but more on that, per Klinkenborg, later).
So, to review. Trust your mind and use it. Give it work. Train yourself to think and write away from the keyboard.
Next: My encounter with Veryln Klinkenborg as he aired his this think-system six years ago.