WHY ARE WRITERS DRAWN TO BOXING?

Rod Serling “All the great poets should have been fighters,” Muhammad Ali once said. “Take Keats and Shelley, for an example. They were pretty good poets, but they died young. You know why? Because they didn’t train.”

Ali had a point, but that jab missed its target. Not only were both Keats and Byron handy with their fists, many writers have found themselves attracted to sparring. Rod Serling, who got his nose broken while boxing, wrote the screenplay for Requiem for a Heavyweight, THE classic tale of both the allure and mental and physical hardships of professional fighting.

Josh Rosenblatt, a writer, ex-boxer, and former editor-in-chief of Fightland, suggests the seemingly disparate arts of writing and fighting have much more in common than one would think:

At the root of the sympathetic connection between writing and fighting lies solitude. Fighters have their trainers and cornermen and opponents, and writers have their editors and publishers and subjects, but in the end both are out there on their own, wrestling with themselves every time. Ask any trainer and they’ll say a fighter’s greatest obstacle isn’t his opponent but his own fear. The same is true for writers. The terror of physical destruction and the terror of the blank page are the same thing.

I think all who’ve struggled with the writing craft can identify with that observation.

I’ll add another thought on how the disciplines of sparring and writing can interact and enrich each other. Both help sharpen one’s awareness of the world around us. One cannot enter the ring with a rigid, prefabricated plan that cannot be altered when circumstances change. As General Kutuzov reminded his officers in War and Peace, “Before a battle, there is nothing more important than a good night’s sleep.” Alertness trumps planning in a world full of surprises.

And it’s the same with writing. We need outlines, but as the story evolves and grows, we have to listen to our characters and modify the narrative as circumstances dictate. That’s the key to crafting a story that feels fresh and alive.

Finally, as Ali noted, staying in shape is vital, especially for wordsmiths who sit for hours in front of a computer.

Advertisements

Getting the words right

Ursula K. Le Guin
By Gorthian – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=31670340
Writers, whether new or seasoned, know well the central struggle of the craft, which is, as Ernest Hemingway put it, “Getting the words right.”

When you nail it, there’s nothing like it. The scene that sizzles, the story that moves readers — that’s what we live and work for as writers.

To me, no other fictional work has better captured the promise — and risk — of language than Ursula K. Le Guin’s classic, “A Wizard of Earthsea,” which tells the story of a boy learning the art of wizardry. The boy’s aunt, a dabbler in spell-making, introduces young Duny to the mystical relationship between the entities of our world and the names by which we know and influence them:

She praised him, and told him she might teach him rhymes he would like better, such as the word that makes a snail look out of its shell, or the name that calls a falcon down from the sky.

“Aye, teach me that name!” he said, being clear over the fright the goats had given him, and puffed up with her praise of his cleverness. …

When he found that the wild falcons stooped down to him from the wind when he summoned them by name, lighting with a thunder of wings on his wrist like the hunting-birds of a prince, then he hungered to know more such names and came to his aunt begging to learn the name of the sparrowhawk and the osprey and the eagle. To earn the words of power he did all the witch asked of him and learned of her all she taught, though not all of it was pleasant to do or know. pp. 4-5

Young Duny (later to be known as Ged) learns that the purpose of developing his power is to enhance and protect life. One of the themes of Le Guin’s riveting tale is the danger that a wizard can misuse that power if it is wielded carelessly.

The point, of course, is that the power of language is not only real, but necessary for a full life as a human being in society and the world. When used thoughtfully, language connects and anchors us. I like the way Joe Moran of Liverpool John Moores University expresses the process in this Literary Hub article:

For the American writing teacher Francis Christensen, learning to write was also about learning to live. He believed that teaching his students how to write a really great long sentence could teach them to “look at life with more alertness.” It should not just be about ensuring that the sentence is grammatically correct, or even clear. The one true aim, he wrote, was “to enhance life—to give the self (the soul) body by wedding it to the world, to give the world life by wedding it to the self.” He wanted his students to become “sentence acrobats” who could “dazzle by their syntactic dexterity.”

“To give the world life by wedding it to the self.” Beautiful. Such moments make the rejections and rewrites worth it.