When I read that quote, I started giggling. I’m not sure, this is entirely true. After all, it’s our ‘design’ of the story that ‘creates’ what we write, isn’t it? We pick up an idea, we start to form it, we work on it, plan it, outline it. All this has nothing to do with intuition. It’s careful planning. The story plot, the characters, all the preparation that is so much fun for us, it’s part of our writing process.
But then I realized: Ray Bradbury was not talking about the preparation… he was not talking about ‘before’ or after the writing. Indie-Authors were not a subject in his time. He talked about writing the story itself. The ‘quill on the paper’, so to speak. And then I started to understand.
With our fantasy… with our preparation, with our creative instinct, we basically have our story in our heads, far before the planning even starts! After drawing the story plot, after the fun of creating and naming our characters, we need to literally create the story, paint its world with words… and that’s when Ray Bradbury’s quote starts making sense…
“Don’t think twice, don’t overthink, just DO!’
The story is there, the book is ‘mentally written’… your intuition, your subconscious knows it… let it flow! Let the story write itself through your hands (be it by typing or handwriting… hearing the soft scratching of the pen on your paper, it doesn’t matter). Let the story build itself through your intuition. And that’s what it meant.
Since I’m currently writing the next book in ‘The Council of Twelve’ series, I’ll find out soon enough, if Ray Bradbury was right with what he said. I will try it, because I’m always curious about other author’s experiences, intuition and writing process.
If you have already experience with this kind of writing, let us know in the comments. We are curious!
Ray Bradbury, in full Ray Douglas Bradbury, (born August 22, 1920, Waukegan, Illinois, U.S.—died June 5, 2012, Los Angeles, California), American author best known for his highly imaginative short stories and novels that blend a poetic style, nostalgia for childhood, social criticism, and an awareness of the hazards of runaway technology.
First short stories
Bradbury’s family moved to Los Angeles in 1934. In 1937 Bradbury joined the Los Angeles Science Fiction League, where he received encouragement from young writers such as Henry Kuttner, Edmond Hamilton, Robert Heinlein, and Leigh Brackett, who met weekly with him. Bradbury published his first short story, “Hollerbochen’s Dilemma” (1938), in the league’s “fanzine,” Imagination! He published his own fanzine, Futuria Fantasia, in 1939. That same year Bradbury traveled to the first World Science Fiction convention, in New York City, where he met many of the genre’s editors. He made his first sale to a professional science fiction magazine in 1941, when his short story “Pendulum” (written with Henry Hasse) was published in Super Science Stories. Many of Bradbury’s earliest stories, with their elements of fantasy and horror, were published in Weird Tales. Most of these stories were collected in his first book of short stories, Dark Carnival (1947). Bradbury’s style, with its rich use of metaphors and similes, stood out from the more utilitarian work that dominated pulp magazine writing.
In the mid-1940s Bradbury’s stories started to appear in major magazines such as The American Mercury, Harper’s, and McCall’s, and he was unusual in publishing both in pulp magazines such as Planet Stories and Thrilling Wonder Stories and “slicks” (so-called because of their high-quality paper) such as The New Yorker and Collier’s without leaving behind the genres he loved. The Martian Chronicles (1950), a series of short stories, depicts Earth’s colonization of Mars, which leads to the extinction of an idyllic Martian civilization. However, in the face of an oncoming nuclear war, many of the settlers return to Earth, and after Earth’s destruction, a few surviving humans return to Mars to become the new Martians. The short-story collection The Illustrated Man (1951) included one of his most famous stories, “The Veldt,” in which a mother and father are concerned about the effect their house’s simulation of lions on the African veldt is having on their children.
Fahrenheit 451, Dandelion Wine, and scripts
Bradbury’s next novel, Fahrenheit 451 (1953), is regarded as his greatest work. In a future society where books are forbidden, Guy Montag, a “fireman” whose job is the burning of books, takes a book and is seduced by reading. Fahrenheit 451 has been acclaimed for its anti-censorship themes and its defense of literature against the encroachment of electronic media. An acclaimed film adaptation was released in 1966.
The collection The Golden Apples of the Sun (1953) contained “The Fog Horn” (loosely adapted for film as The Beast from 20,000 Fathoms [1953]), about two lighthouse keepers’ terrifying encounter with a sea monster; the title story, about a rocket’s dangerous journey to scoop up a piece of the Sun; and “A Sound of Thunder,” about a safari back to the Mesozoic to hunt a Tyrannosaurus. In 1954 Bradbury spent six months in Ireland with director John Huston working on the screenplay for the film Moby Dick (1956), an experience Bradbury later fictionalized in his novel Green Shadows, White Whale (1992). After the release of Moby Dick, Bradbury was in demand as a screenwriter in Hollywood and wrote scripts for Playhouse 90, Alfred Hitchcock Presents, and The Twilight Zone.
One of Bradbury’s most personal works, Dandelion Wine (1957), is an autobiographical novel about a magical but too brief summer of a 12-year-old boy in Green Town, Illinois (a fictionalized version of his childhood home of Waukegan). His next collection, A Medicine for Melancholy (1959), contained “All Summer in a Day,” a poignant story of childhood cruelty on Venus, where the Sun comes out only every seven years. The Midwest of his childhood was once again the setting of Something Wicked This Way Comes (1962), in which a carnival comes to town run by the mysterious and evil Mr. Dark. The next year, he published his first collection of short plays, The Anthem Sprinters and Other Antics.
Later work and awards
In the 1970s Bradbury no longer wrote short fiction at his previous pace, turning his energy to poetry and drama. Earlier in his career he had sold several mystery short stories, and he returned to the genre with Death Is a Lonely Business (1985), an homage to the detective stories of writers such as Raymond Chandler and Dashiell Hammett mixed with an autobiographical setting of 1949 Venice, California, where Bradbury lived at the time. Two sequels, A Graveyard for Lunatics (1990) and Let’s All Kill Constance (2002), mined his experiences in 1950s and ’60s Hollywood. His final novel, Farewell Summer (2006), was a sequel to Dandelion Wine. He adapted 59 of his short stories for the television series The Ray Bradbury Theatre (1985–92).
Bradbury was often considered a science fiction author, but he said that his only science fiction book was Fahrenheit 451. Strictly speaking, much of his work was fantasy, horror, or mysteries. He said, “I use a scientific idea as a platform to leap into the air and never come back.” He received many honours for his work including an Emmy for his animated adaptation of The Halloween Tree (1994) and the National Medal of Arts (2004). In 2007 the Pulitzer Prize Board awarded Bradbury a Special Citation for his distinguished career. (Source: Britannica.com)
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