Writing manuals in circulation?
Lot of, not all useful and engaging. "Manual Oracle for Writers and Writers" published by Sonzogno by Giulio Mozzi - the title is inspired all’s manual Oracle and art of prudence by the great Spanish seventeenth century Balthasar Gracian – is a happy exception that stands out in the panorama and rightly the "City of Como" award last year wanted to highlight it in the section dedicated to non-fiction. Giulio Mozzi is a talent scout from the palate up, consultant for important publishing houses, self-employed writer and poet and curator of a writing school for almost thirty years.
With this book which now follows written with Laura Pugno a "Manual oracle for poets and poets" dedicated to those who write verses that we also imagine always useful for Sonzogno, guides the inexperienced and the already experienced writer to discover the pitfalls that the thorny exercise of writing entails. A path bristling with obstacles but also a harbinger of satisfaction in knowing how to do it with caution and grace and measure. And here is page after page with the help of expert illustrations (a cactus-writer who symbolizes the thorns we said) and an original layout system that starts from an apodictic phrase on the right page and from an example and didactic explanation on the left one Mozzi gives the reader - writer an easy method of prompt consultation to solve multiple problems of narrative writing.
A never banal book-game, a handbook of clinical cases that writing often involves, help to focus on the main problems of the journey of writing wherever full of witticisms and strategies for an effective literary craft with provocations and maieutic questions and above all a machine of thought and action that opens up further study and invites us not to linger but to be operational on the page in a practical and effective way because it is the result of a long experience of one's own writing and that of others. Without ever forgetting the pleasure that the text provokes and from which it was born as the semiologist Roland Barthes said because writing can indeed be fun for the writer but especially for the reader. A few examples. “The best is sometimes the enemy of good, and perfectionism a ballast ". Since words are important as Nanni Moretti says in "Palombella rossa" attention to etymology: "Get an etymological dictionary and go read the etymology of all the words you use". From a narratological point of view, in addition to advice already heard but which is nice and useful to reiterate because it is essential to read yourself aloud and register to know the true rhythm of your writing, then the author must "know everything about the characters, even what he won't tell the reader ".
Even the name of the store where the shirt was bought that that given character is apparently minor or stainless in his temperament from the beginning to the end of the work as Don Abbondio for example wears at that particular moment in history that is being composed and then will be read on the page. And the action of the writer governs everything, beardless or cultured, awareness of one's limits and ambitions at the same time. In an inexhaustible exercise that often leads to throw everything and start again and in any case to a work of approximation to perfection that will never touch it (sometimes it is better to delete the novel file after printing it and start from there, copy it with zen and painstaking patience). After all, it is necessary to understand an uncomfortable truth but to be repeated as an obsessive mantra: “The great writers of the past don't look at you: they are all dead. Your readers, instead, they are alive and well. "
God sees you in the ballot box when you vote, it was said once. Stalin no. And the God of the writer is basically the reader who will rewrite the text in his mind and in his life once you have sent it to him in one way or another. “You are not necessary for your story. Your reader does, ”notes Mozzi. If more authors read this book profitably and if they passed it from hand to hand and from generation to generation we would certainly have fewer handwritten manuscripts around and less self-styled writers in circulation.