Writing To Weave The Spell
Below is a MRR and PLR article in category Writing Speaking -> subcategory Writing.
Writing to Weave the Spell
Title: Writing to Weave the Spell
Summary:
I'm a devoted admirer of the Canadian author Robertson Davies. When seeking inspiration, I often turn to his insightful articles on writing. During one of these quests, I discovered a speech he gave in 1990 at the Tanner Lectures in New Haven, Connecticut, titled “Writing” and “Reading.”
What makes a novel endure through time and remain captivating a century later? What elevates it beyond its era to become universal?
Keywords:
Osgoode Trilogy, Mary E. Martin, Conduct in Question, Final Paradox, A Trial of One, shamanstvo, Rob
Article Body:
As a huge admirer of Canadian author Robertson Davies, I often seek inspiration in his writing. In a 1990 speech for the Tanner Lectures in New Haven, Connecticut, he delivered talks titled “Writing” and “Reading.”
What makes a novel exceptional, one that remains a captivating read even a century later? How does a novel transcend its time and become universal?
Davies coined a term in his speech for a vital quality he calls shamanstvo.
To weave a spell, a writer must possess an innate ability akin to a spider’s silk-spinning gift. It’s not just about having a story, but about possessing a unique way of telling it that captures and holds the reader's attention.
This idea evokes the image of shamans?"mystics and healers with otherworldly powers, perhaps even tricksters or divine communicators. It’s a daunting challenge for those of us staring at a computer screen, hoping for inspiration to resolve a plot or perfect a line of dialogue!
Yet, it's true! Consider the last time a novel gripped you from the first sentence, drawing you into its world. That's the elusive quality every writer seeks.
Davies, however, likely didn’t mean a mere page-turner. He valued lingering over passages and savoring language, suggesting something more profound.
I love this metaphor by Davies. A spider spins its web naturally, not knowing how. Similarly, a writer produces stories?"it's an intrinsic ability, a product of one's whole self.
A writer should have a story to tell or a piece of wisdom to share. The true magic lies in delivering it with a personal, distinctive touch that captivates the reader, binding them to the narrative.
How can a writer achieve this? My experiences are mine alone, just as yours are yours. How can I ensnare you into my web? Better yet, how can I captivate thousands with their own worlds? How can I enchant readers with my world?
Here, I think of Carl Jung and the collective unconscious we all share. By accessing this level of the unconscious, a writer can tap into universal human emotions, symbols, and myths. The writer then interprets these with personal flair, crafting a work of universal appeal from the shared human experience.
This brings us back to shamanstvo?"that enchanting quality. Like shamans, writers have special access to inner worlds, not by mere gift but by effort. They explore realms where universal storytelling elements reside.
However, Davies might disagree. To him, a writer either has shamanstvo or doesn’t. He believes everyone’s personal unconscious is rooted in the collective unconscious, but the difference is:
A true writer can invite and engage with it, transforming this material into a unique language. The stories may not astonish readers with new revelations but resonate with familiar truths.
When readers recognize something immediately, it suggests the writer has tapped into the universally shared collective unconscious. It’s like courting the muse in mythological terms.
So, next time we’re stuck writing, maybe we should take a nap. After all, dreams are said to be the gateway to the unconscious.
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