Redigering: Sanser og isbjerge/Editing: Senses and icebergs

Min elskede Hemingway sagde:
”Hvis en prosaist ved tilstrækkeligt om det emne, han skriver om, kan han udelade visse ting, som han meget vel ved, og læserne vil alligevel, hvis skribenten er sanddru nok, få den samme stærke følelse af disse ting, som hvis forfatteren havde indført dem i sin bog. Den værdighed og majestæt der præger et isbjerg, skyldes at kun en ottendedel af det løfter sig over vandet. En forfatter derimod der udelader bestemte ting, fordi han simpelt hen ingenting ved om sit arbejde, afstedkommer hulheder i sit arbejde.” 

Antyd, hentyd, lad være med at undervurdere dine læsere, anerkend dem, vær ærlig, gør det tydeligt og kort, men gør det ægte. Er det ikke nogenlunde sådan?

Hemingway skrev, at læseren vil få samme stærke følelse, og det er jo netop det, det handler om: at overføre følelser fra en selv, som forfatter, til læseren, der sidder et sted derude i verden og læser ens bog.

I mit kandidatspeciale skrev jeg om relationen mellem kunstværk, kunstner og publikum; om, hvordan et kunstværk er i stand til at skabe en revolution. Se mere om det her: What I talk about when I talk about literature

Det handler om at være ægte i sin kunst, om at skrive den ægte følelse, den ægte sans, den ægte sætning, selv når det er fiktion. Fiktion er blot en historie digtet over ægte følelser, ægte oplevelser og ægte sanser. Hvis du ikke “lyver” i din genfortælling, kan følelsen overføres direkte, og dermed skabes den store litteratur, der kan flytte tro, bjerge og mennesker.

Følelser, den levende tekst, skabes med sanser og billeder, der er skrevet, så læseren berøres af dem.

Mennesker mærker, smager, dufter, hører og ser, og det er sådan, de lever i verdenen. Skab sproglige billeder med sanser:

Det stille vand er gråt, flydende metal – det lugter af råddent æg – det smager salt på læberne – uglen tuder i bevoksningen tæt derpå – det våde græs klæber koldt til mine bare ben.

Få læseren til at mærke det på egen krop. Giv dem gåsehud, kildren i maven, tårer eller smil. Gør dit sprog levende. Undgå gamle klicheer, der på stedet afliver din tekst: Gå gennem ild og vand. Hun er en usleben diamant. Han smedede, mens jernet var varmt.

Find dine egne sprogbilleder. Puds dem til, skær al unødvendigt fra og lad dem leve, så de gør sproget friskt og bærer din historie frem.

…………………………………………….

My beloved Hemingway said:

“If a writer of prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.”

Hint, suggest, don’t underestimate your readers, acknowledge them, be honest, make it clear and brief, but make it real. Isn’t this just about it?

Hemingway wrote, that the reader will have a feeling of those things as strongly as the writer had stated them, and this is exactly what it’s about: transfering emotion from yourself, as a writer, to the reader sitting somewhere out there in the world reading your book.

In my Master Thesis I wrote about the relation between the object of art, the artist and the audience; about how a piece of art is capable of causing a revolution. Read more about that here: What I talk about when I talk about literature

 

It’s about being real in your art, about writing the true emotion, the true sense, the true sentence, even when it’s fiction. Fiction is merely a story made from real emotion, real experience and real senses. If you don’t “lie” in your recreation the emotion can be transferred directly, and thereby the great literature is created, which moves belief, mountains and people.

Emotion, the living text, is created with senses and images written so that the reader is moved by them.

People feel, taste, smell, hear and see, and this is how they are alive in the world. Create linguistic images with senses:

The quiet water is grey, liquid metal – it smells like rotten eggs – it tastes salty on my lips – the owl hoots in the trees nearby – the wet grass sticks coolly to my naked legs.

Make the reader feel it on their own body. Give them goose bumps, make their stomach tickle, tears or smile. Make your language come alive. Avoid old cliches which instantly kills your text: Go through fire and water. She is an uncut diamond. He beats around the bush.

 

Create your own images. Polish them, cut off anything unnecessary and let them live to freshen your language and carry your story.

 

 

 

 

 

 

About Louise Andersen

Jeg er redaktør, underviser og forfattercoach i min egen virksomhed Skriv for livet. I’m an editor, teacher and writer’s coach with my own company Write For Your Life.
This entry was posted in Aesthetics, Hemingway, Literature, writer's guide, writing and tagged , , , , . Bookmark the permalink.

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