Once a week on Friday, Uncle Bardie celebrates the creativity in others by shining a Spotlight on a movie, a song or a creator. In honor of the upcoming National Poetry Month of April, this week’s Spotlight Creator is the Ray Bradbury. Here is a short documentary of Ray Bradbury and a review of his book, Zen in the Art of Writing:
Zen in the Art of Writing by Ray Bradbury
Publisher: Joshua Odell Editions (August 1, 1994)
In Zen in the Art of Writing, Ray Bradbury shares the sources of many of the hundreds of stories, essays, plays and novels. They come from a vivid imagination that has continued to see things with the eyes of a child. At the heart of many of his stories is his childhood home of Waukegan, Illinois.
Unlike the Thomas Wolfe saying of “you can’t go home again,” Bradbury often returned home to Waukegan. His childhood years in that small Illinois town served as a source for many of his stories in the same way that Hemingway mined his youth in Michigan for his Nick Adams stories and Mark Twain used Hannibal, Missouri for Tom Sawyer and Huckleberry Finn. Waukegan was his Paris, his Oz, his Castle Rock. In Bradbury’s imagination, Waukegan became the Green Town of the Dandelion Wine stories. An encounter at age twelve with Mr. Electrico and his traveling electric chair inspired him to begin his Martian stories.
Though he was writing a story a week in those early years, he imitated the fictions of Edgar Rice Burroughs, H.G. Wells, Edgar Allan Poe and many of the pulp writers he was reading. It was his discovery of word association that broke him free from their influence. Bradbury made a list of words, took one of those words, and made that word a title for a story. Then he came up with memories and emotions for that word.
He turned the phrase :the old woman” into two stories: “There was an Old Woman” and “Season of Disbelief”. “The baby” became “The Small Assassin”. “The trap door” ended up as “Trapdoor” in Omni Magazine in 1985.
Bradbury relates how it cost him nine dollars and eighty cents to write the first draft of Fahrenheit 451. He shares how a visit to catacombs in Mexico caused his imagination to spit up the story, “Next in Line.” His stay in Ireland led to a number of Irish stories, including “The Haunting of the New.” He relates his love affair with skeletons and circuses and carnivals and dinosaurs and Mars, and how he never lost his childlike wonder for all things strange and exotic and out-of-the-normal.
In the chapter titled “Zen in the Art of Writing,” he shares his process for writing: Work, Relaxation, Don’t Think. He relates how the writer can learn from the archer of Zen and the Art of Archery by Eugen Herrigel. Then he reveals his unique approach to plotting. He writes: “Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all Plot ever should be. It is human desire let run, running, and reaching a goal” (p. 152).
Zen in the Art of Writing encourages the writer, and anyone pursuing his chosen dream, to never give up. Persistence pays off. If we’re putting in the work, there will be a reward down the line. His advice is: Do the work for the joy of it. Don’t worry about the destination. Love the process.