Haruki Murakami On Writing

There are many articles written on the do’s and don’t’s of writing. I don’t know if such a thing exists for each person who wishes to write must write their own way. Through the act of writing, they will come to discover what they like and what they don’t like and in doing so, create their own do’s and don’t’s which may be contradictory to the public consensus. If that is the case then so be it. Contorting your writing in order to fit into how someone else thinks, takes away from the uniqueness of your own thought and style. So, one has to be comfortable with their own writing and write for the purpose of writing and not to become popular or to sell a bunch of books. At least that is how I view it. Writing for the sake of writing.

In his memoir, What I Talk About When I Talk About Running, Haruki Murakami expresses similar notions. The book is a combined effort on his views on running and on writing and how the action of running has influenced his writing.

What’s crucial is whether your writing attains the standards you’ve set for yourself. Failure to reach that bar is not something you can easily explain away. When it comes to other people, you can always come up with a reasonable explanation, but you can’t fool yourself. In this sense, writing novels and running full marathons are very much alike. Basically a writer has a quiet, inner motivation, and doesn’t seek validation in the outwardly visible.

It is an inner standard that one must aim for and not some external validation. In running, you are trying to beat your previous time even if it is only by one minute or trying to go further than you have gone before. Similarly, with writing, you are trying to create something that is approved by your own standards and limitations. Text that pushes you slightly further than your comfort zone and it doesn’t matter if one person reads that or a million, the inner validation is all one needs.

Specifically, when it comes to writing itself, Murakami believes that there are three important factors. The most important being talent and below it are focus and endurance. Talent being innate, it is something you have or you don’t have. Focus and endurance are what one can build and increase with time and effort. These two factors are in your control.

In every interview I’m asked what’s the most important quality a novelist has to have. It’s pretty obvious: talent. No matter how much enthusiasm and effort you put into writing, if you totally lack literary talent you can forget about being a novelist. This is more of a prerequisite than a necessary quality. If you don’t have any fuel, even the best car won’t run.

If I’m asked what the next most important quality is for a novelist, that’s easy too: focus—the ability to concentrate all your limited talents on whatever’s critical at the moment. Without that you can’t accomplish anything of value, while, if you can focus effectively, you’ll be able to compensate for an erratic talent or even a shortage of it. I generally concentrate on work for three or four hours every morning.

After focus, the next most important thing for a novelist is, hands down, endurance. If you concentrate on writing three or four hours a day and feel tired after a week of this, you’re not going to be able to write a long work. What’s needed for a writer of fiction—at least one who hopes to write a novel—is the energy to focus every day for half a year, or a year, two years.

Naturally, in order to increase one’s focus and endurance, you have to be patient. It takes time and effort to develop these two qualities. Murakami relates these factors to running throughout his text. The idea is that just how one works his or her way up from being able to run 1 mile and then 2 miles and then 3 miles as their muscles adjust and grow and their cardio improves and their running technique gets better and so on. Similarly, one has to slowly work the focus and endurance muscles for writing. Perhaps you may have to start with 30 minutes of pure focus where all you think about is writing and then after a week of that, you increase that to 45 minutes and once your body adjusts to that speed, you increase your focus time to an hour. Endurance works the same way. Three days out of the week for writing and then four days and then five days and you may keep the five days for a few months until your body and mind have adjusted to this new level and then you increase it to six days.

It is in the practice of your routine that you get better as a writer and also as a runner. Murakami shares a funny story about the writer Raymond Chandler who seemed to share Murakami’s belief in endurance and focus.

In private correspondence the great mystery writer Raymond Chandler once confessed that even if he didn’t write anything, he made sure he sat down at his desk every single day and concentrated. I understand the purpose behind his doing this. This is the way Chandler gave himself the physical stamina a professional writer needs, quietly strengthening his willpower. This sort of daily training was indispensable to him.

In doing so, writing then becomes a form of manual labor and not some creative output that seeps out of your pores and that one just needs to write it all down and that’s it. Furthermore, it may be through the grueling task of focusing every single day for weeks on end that one may discover that they have some talent. Your talent may not be known to you until you start your work. Murakami himself is an example of this. It was not until he was in his late 20s that he even got the idea to write and it would not be for a few more years until he discovered his own writing style and understood what kind of novels he wished to write.

This discovery was simply aided by writing. The more effort he put into his work the better he understood it and clearer his vision became. He had an understanding that his talent was not enough and that he needed to supplement the talent he did have by building up his focus and endurance. Murakami gives credit to running for building these two qualities that could then aid the talent he did have.

Most of what I know about writing I’ve learned through running every day. These are practical, physical lessons. How much can I push myself? How much rest is appropriate—and how much is too much? How far can I take something and still keep it decent and consistent? When does it become narrow-minded and inflexible? How much should I be aware of the world outside, and how much should I focus on my inner world? To what extent should I be confident in my abilities, and when should I start doubting myself? I know that if I hadn’t become a long-distance runner when I became a novelist, my work would have been vastly different. How different? Hard to say. But something would have definitely been different.

Talent may be out of your control but focus and endurance are not. You can set yourself up for success if you build up those two qualities. Furthermore, the action that aids in this growth will help your understanding of writing, what you wish to say, what you wish not to say, your own do’s and don’t’s and perhaps even discover that talent that is within. In fact, such an action will benefit you in all aspects of life and not just writing.

For me it is hard to say if I have a talent for writing or not, I just simply know that I enjoy it and that it brings a sense of fulfillment and achievement into my life. It is a freeing notion, knowing that focus and endurance are under my control. If I am able to improve these qualities perhaps then my writing will continue to live up to my own standards.

Simple Writing Advice From Stephen King

If you want to be a writer, you must do two things above all others: read a lot and write a lot.

This is from Stephen King’s memoir On Writing.

The advice is straightforward and simple. A writer writes. You can spend all your time researching writing tips, habits, routines, reading lists and things of that nature but that is not writing. You can find writing exercises that make you describe some lake from four different perspectives but that is not writing. You can even spend weeks reading books on how to write and by doing all of this, give yourself this false notion that you are writing but you are not writing.

It may seem like you are working on your craft and improving your understanding as you try a new way of writing and learn through the habits of other writers, however, all of this can trick you into thinking that you are getting better as a writer but you really may not be. After all the hours spent on such activities, you may still be exactly where you started.

The reason being all of that is supplementary. Additional work to your core work. The core is the actual writing, your writing, no matter if it is good or bad, you must write your own writing. The easiest way to do this is either set a block of time which is dedicated to writing and nothing else or assign yourself X number of words that need to be written each day to consider that day a win. This makes up your core. After this is when all the supplementary work like reading books on writing, grammar, editing, biographies/memoirs, and writing exercises can be added to the routine.

Don’t make the mistake of spending 60-70% of your time on supplementary work and the minimum on your own actual writing. On days when you feel like not writing, don’t find satisfaction on completing supplementary work while ignoring the core.

It is easy to do that because writing can be uncomfortable. It can be tiresome. In a way, reading about writing and doing writing exercises can be seen as procrastination or being satisfied with the minimum so you can be comfortable for a moment because your inner conscience is pleased. But this habit does not bring you closer to finishing a story or an article, so you go nowhere if you allow the supplementary to lead you. Instead, you have to do the work and commit to a writing schedule which takes precedence over anything else.

Along with writing, comes reading. Just as with writing, you have to assign yourself a certain number of pages to read or a block of time dedicated to just reading. What does a character do when he is in a heated argument? What will the landscape look like from the view of someone who does not know who they are? What creates an emotional connection with a character? How do you write a good battle scene? A good love scene? How can inner monologue flow? How do you incorporate symbolic meanings into the text? Questions like these and many others are all answerable depending on your reading. As a writer, professional or amateur, reading takes on a different notion. You do not simply read for pleasure. It is your job to read. Just as it is your job to write. That is how you approach the subject. You read in order to better understand writing, not just to get to the last page and be pleased that you finished another book. Another book for the bookshelf does very little to improve your writing ability.

Instead, read with attention. Take notes, understand what the writer has included and what he or she has omitted. Pay attention to the words used and how they differ depending on the character. See how an emotional scene was set up or a violent one. Take note of the details that bring a scene to life and the lack of detail that makes it mundane. Watch how the character struggles internally or how the character acts externally.

All books can be seen as textbooks for writing. The good ones make you understand what to do and the bad ones teach you what not to do.

Although the advice is simple, write a lot and read a lot, the application of it must be done with commitment and attention. In that way, the simple advice is all you need to become a better writer for the rest of the writing journey you will learn innately and those lessons are hard to forget while no matter how many writing tips and lists you read, the lessons will eventually fade from your mind.