Abstract
For creative non-fiction the heart of the authoring process is a person sitting at a desk, surrounded by information, notes, scribbles and sources, or otherwise jammed with ideas, and struggling to organize their thoughts on a blank screen or sheet of paper. This particular image is so dominant in our thinking about authoring because it is so awe-full, so hard to manage your way through at the time, so difficult to capture what you were doing afterwards, and so psychologically stressful or unnerving to contemplate at almost any time. In another field, writing novels, its practitioners’ collective obsession with the angst of an author imagining something out of nothing has gone even further, as John Fowles noted ironically:
Serious modern fiction has only one subject, the difficulty of writing serious modern fiction … . The natural consequence of this is that writing about fiction has become a far more important matter than writing fiction itself. It’s one of the best ways you can tell a true novelist nowadays. He’s not going to waste his time over the messy garage-mechanic drudge of assembling stories and characters on paper … Yes, all right. Obviously he has at some point to write something, just to show how irrelevant and unnecessary the actual writing part of it is. But that’s all.2
Never ignore, never refuse to see, what may be thought against your thought.
Friedrich Nietzsche 1
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Notes
I have not been able to trace this quotation. For Nietzsche generally, see Laurence Gane and Kitty Chan, Introducing Nietzsche (Cambridge: Icon Books, 1999).
John Fowles, Mantissa (London: Triad/Panther, 1984), p. 117.
Howard S. Becker, Writing for Social Scientists (Chicago: University of Chicago Press, 1986), Chapter 3.
James Thurber quoted in Lewis Minkin, Exits and Entrances: Political Research as a Creative Art (Sheffield: Sheffield Hallam University Press, 1997), p. 100.
Umberto Eco, Kant and the Platypus: Essays on Language and Cognition (London: Verso, 1997), translated by Alastair McEwan, p. 4.
Bernard Lonergan, Insight (London: Ward Lock, 1978), p. 174. Originally published 1958.
Francis Bacon quoted in E. Dimnet, The Art of Thinking (London: Cape, 1929), p. 108.
Sir Phillip Sidney (1554–86), originally from Astrophe and Stella (1519), Sonnet 1, and quoted in different forms in The Concise Oxford Dictionary of Quotations (Oxford: Oxford University Press, 1981), p. 241, and R. Andrews, The Routledge Book of Quotations (London: Routledge, 1987), p. 292.
The next few paragraphs draw on the useful discussion in Eviatar Zerubavel, The Clockwork Muse: A Practical Guide to Writing Theses, Dissertations and Books (Cambridge, MA: Harvard University Press, 1999). Zerubavel offers detailed guidance on how to timetable writing sessions.
Quoted in A. D. Sertillanges, The Intellectual Life: Its Spirits, Conditions and Methods (Dublin: Mercier Press, 1978), translated by Mary Ryan, p. 220.
James Gleick, Faster: The Acceleration of Just about Everything (London: Abacus, 2000).
St Thomas Aquinas, Summa Theologica: A Concise Translation (London: Methuen, 1991), edited by T. McDermott, p. 439.
Immanuel Kant, The Critique of Pure Reason (Basingstoke: Macmillan, 1986), p. 338.
Johanne Wolfgang von Goethe, Great Writings of Goethe (New York: Meridian, 1958), edited by Stephen Spender, p. 272.
W. H. Auden, quoted in S. and K. Baker, The Idiot’s Guide to Project Management (Indianapolis: Macmillan, 2000), second edition, p. 142.
John Dewey, Democracy and Education (New York: Macmillan, 1916), p. 140.
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© 2003 Patrick Dunleavy
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Dunleavy, P. (2003). Developing Your Text and Managing the Writing Process. In: Authoring a PhD. Palgrave Study Skills. Palgrave, London. https://doi.org/10.1007/978-0-230-80208-7_6
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DOI: https://doi.org/10.1007/978-0-230-80208-7_6
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