Raymond Carver, thanks for coming to see us in Como.
In your opinion which is considered the writing teacher for effectiveness and capacity of evocation, how a good story?
Once I started to write what turned out to be a good story, even though at first it had presented only the first sentence. They were already several days that I went around with these words on his head:
"She was vacuuming when the phone rang".
I felt that behind that phrase there was a story that would be told. I could feel it in my bones that together we had to go to that beginning a story, He found enough time to write it.
The time I found him, a whole day – twelve, fifteen hours, even – enough that I wanted to put it to good.
And so it was, one morning I sat down and I wrote the first sentence and other sentences immediately began to stick to that.
I made up the story as I composed a poem; a row behind each other, and then another, and then another.
After a while 'I started glimpse of history and I knew that this was the my story, the one that I wanted to write.
What makes you say "I like" reading a story?
I love it when the stories there is a sense of threat. I think a little 'threats is something that is fine, in a story.
To begin, It is good for circulation.
There must be the voltage, the sense that something is about to happen, that certain things are set in motion and you can not stop, otherwise, most of the time, the story simply there will be no.
What creates tension in a story is, partly, the way the words are actually linked to form the visible action of the story.
But create tension even things that are left out, that are implied, the landscape that is just below the calm (but sometimes broken and agitated) surface of the story.
What are the necessary tools?
The job of a writer of short stories is to invest that extra glimpsed with everything in his power.
He must put the whole 'intelligence and the whole 'literary skills that owns (his talent, in conclusion), all his sense of proportion and form: real essence of external things and the way he - and no one else – sees.
And all this is achieved through 'Using clear and precise language, a language used in order to breathe life into details illumine the story the reader.
Because the details are real and full of meaning, it is essential that the language is given in an accurate and precise quantomai.
The words They can be accurate even to the point of appearing flat, the important thing is that they are of meaning; if used well, can touch all notes.
But she enjoys writing? Roland Barthes speaks of "pleasure of the text" ...
I like to mess with my stories.
I'd rather tinker around a story after writing it and then tinker again later, changing one thing here and one thing there, rather than write it the first time.
The initial draft seems to me the hardest part to overcome to then go ahead and have fun with the story.
The review for me is not an obligation unwelcome – rather, It is something I like to do. Maybe they are more thoughtful and caring nature that spontaneously, and this perhaps is the reason for this predilection.
Ma magari no, there is no link between the two except that I imagine. I just know that reviewing and correcting the work after writing is something that comes naturally to me and
which I am very pleased.
I may correct because doing so I approach slowly to the heart of the story.
I feel I have to constantly groped to find out. It's a process, not a stable position.
And the writing schools? They are useful?
A good teacher of creative writing can save you a lot of time to those who have the writer's stuff.
I think it can save you a lot of time even to those who do not have it.
Writing is a hard and lonely job and it is easy to take the wrong path.
If we do our job well, we teachers of creative writing we perform a function "negative" which seem necessary.
(Interview imaginary inspired by reading the manual "The craft of writing", anthology of texts, introductions and speeches of the American writer Raymond Carver, published by Einaudi)