Zen in the Art of Writing. Ray Bradbury

out of all this, wind up with your first success as a writer, at $20 a story, in Weird Tales.

      How do you commence to start to begin an almost new kind of writing, to terrify and scare?

      You stumble into it, mostly. You don’t know what you’re doing, and suddenly, it’s done. You don’t set out to reform a certain kind of writing. It evolves out of your own life and night scares. Suddenly you look around and see that you have done something almost fresh.

      The problem for any writer in any field is being circumscribed by what has gone before or what is being printed that very day in books and magazines.

      I grew up reading and loving the traditional ghost stories of Dickens, Lovecraft, Poe, and later, Kuttner, Bloch, and Clark Ashton Smith. I tried to write stories heavily influenced by various of these writers, and succeeded in making quadruple- layered mudpies, all language and style, that would not float, and sank without a trace. I was too young to identify my problem, I was so busy imitating.

      I almost blundered into my creative self in my last year in high school, when I wrote a kind of long remembrance of the deep ravine in my home town, and my fear of it at night. But I had no story to go with the ravine, so my discovering the true source of my future writing was put off for some few years.

      I wrote at least a thousand words a day every day from the age of twelve on. For years Poe was looking over one shoulder, while Wells, Burroughs, and just about every writer in Astounding and Weird Tales looked over the other.

      I loved them, and they smothered me. I hadn’t learned how to look away and in the process look not at myself but at what went on behind my face.

      It was only when I began to discover the treats and tricks that came with word association that I began to find some true way through the minefields of imitation. I finally figured out that if you are going to step on a live mine, make it your own. Be blown up, as it were, by your own delights and despairs.

      I began to put down brief notes and descriptions of loves and hates. All during my twentieth and twenty-first years, I circled around summer noons and October midnights, sensing that there somewhere in the bright and dark seasons must be something that was really me.

      I finally found it one afternoon when I was twenty-two years old. I wrote the title ‘The Lake’ on the first page of a story that finished itself two hours later. Two hours after that I was sitting at my typewriter out on a porch in the sun, with tears running off the tip of my nose, and the hair on my neck standing up.

      Why the arousal of hair and the dripping nose?

      I realized I had at last written a really fine story. The first, in ten years of writing. And not only was it a fine story, but it was some sort of hybrid, something verging on the new. Not a traditional ghost story at all, but a story about love, time, remembrance, and drowning.

      I sent it off to Julie Schwartz, my pulp agent, who liked it, but said it was not a traditional tale and might be hard to sell. Weird Tales walked around it, touched it with a ten-foot pole, and finally decided, what the hey, to publish it, even though it didn’t fit their magazine. But I must promise, next time, to write a good old-fashioned ghost story! I promised. They gave me twenty dollars, and everyone was happy.

      Well, some of you know the rest. ‘The Lake’ has been reprinted dozens of times in the forty-four years since. And it was the story that first got various editors of other magazines to sit up and notice the guy with the aroused hair and the wet nose.

      Did I learn a hard, fast, or even an easy lesson from ‘The Lake’? I did not. I went back to writing the old-fashioned ghost story. For I was far too young to understand much about writing at all, and my discoveries went unnoticed by me for years. I was wandering all over the place and writing poorly much of the time.

      During my early twenties, if my weird fiction was imitative, with an occasional surprise of a concept and a further surprise in execution, my science-fiction writing was abysmal, and my detective fiction verged on the ludicrous. I was deeply under the influence of my loving friend, Leigh Brackett, whom I used to meet every Sunday at Muscle Beach in Santa Monica, California, there to read her superior Stark on Mars tales, or to envy and try to emulate her Flynn’s Detective stories.

      But along through those years I began to make lists of titles, to put down long lines of nouns. These lists were the provocations, finally, that caused my better stuff to surface. I was feeling my way toward something honest, hidden under the trapdoor on the top of my skull.

      The lists ran something like this:

      THE LAKE. THE NIGHT. THE CRICKETS. THE RAVINE. THE ATTIC. THE BASEMENT. THE TRAPDOOR. THE BABY. THE CROWD. THE NIGHT TRAIN. THE FOG HORN. THE SCYTHE. THE CARNIVAL. THE CAROUSEL. THE DWARF. THE MIRROR MAZE. THE SKELETON.

      I was beginning to see a pattern in the list, in these words that I had simply flung forth on paper, trusting my subconscious to give bread, as it were, to the birds.

      Glancing over the list, I discovered my old love and fright having to do with circuses and carnivals. I remembered, and then forgot, and then remembered again, how terrified I had been when my mother took me for my first ride on a merry-go-round. With the calliope screaming and the world spinning and the terrible horses leaping, I added my shrieks to the din. I did not go near the carousel again for years. When I really did, decades later, it rode me into the midst of Something Wicked This Way Comes.

      But long before that, I went on making the lists. THE MEADOW. THE TOY CHEST. THE MONSTER. TYRANNOSAURUS REX. THE TOWN CLOCK. THE OLD MAN. THE OLD WOMAN. THE TELEPHONE. THE SIDEWALKS. THE COFFIN. THE ELECTRIC CHAIR. THE MAGICIAN.

      Out on the margin of these nouns, I blundered into a science-fiction story that was not a science-fiction story. My title was ‘R is for Rocket’. The published title was ‘King of the Grey Spaces’, the story of two boys, great friends, one elected to go off to the Space Academy, the other staying home. The tale was rejected by every science-fiction magazine because, after all, it was only a story about friendship being tested by circumstance, even though the circumstance was space travel. Mary Gnaedinger, at Famous Fantastic Mysteries, took one look at my story and published it. But, again, I was too young to see that ‘R is For Rocket’ would be the kind of story that would make me as a science-fiction writer, admired by some, and criticized by many who observed that I was no writer of science fictions, I was a ‘people’ writer, and to hell with that!

      I went on making lists, having to do not only with night, nightmares, darkness, and objects in attics, but the toys that men play with in space, and the ideas I found in detective magazines. Most of the detective material I published in my twenty-fourth year in Detective Tales and Dime Detective is not worth rereading. Here and there, I fell over my own shoelaces and did a nearly good job of remembering Mexico, which scared me, or downtown Los Angeles during the Pachucho riots. But it would take me the better part of forty years to assimilate the detective/mystery/suspense genre and make it work for me in my novel, Death Is a Lonely Business.

      But back to my lists. And why go back to them? Where am I leading you? Well, if you are a writer, or would hope to be one, similar lists, dredged out of the lopside of your brain, might well help you discover you, even as I flopped around and finally found me.

      I began to run through those lists, pick a noun, and then sit down to write a long prose-poem-essay on it.

      Somewhere along about the middle of the page, or perhaps on the second page, the prose poem would turn into a story. Which is to say that a character suddenly appeared and said, ‘That’s me’; or, ‘That’s an idea I like!’ And the character would then finish the tale for me.

      It began to be obvious that I was learning from my lists of nouns, and that I was further learning that my characters would do my work for me, if I let them alone, if I gave them their heads, which is to say, their fantasies, their frights.

      I looked at my list, saw SKELETON, and remembered the first artworks of my childhood. I drew skeletons to scare my girl cousins. I was fascinated