"In writing you must kill your darling." - William Faulkner
This kernel of wisdom provided by agreed authors is often misunderstood. In this article we will discuss how the author grasps this valuable concept properly and how to implement it in its work. The choice of Faulkner's murderous words quickly draws attention. It is clear that the author tells the authors that they need to kill their favorite things. The words actually chosen represent the dislike experienced by the author in carrying out such work. Perhaps the wording seems to be tough. To the author it is honestly a very personal and often difficult rule. In order to accurately reflect the concept, it is important to look at the actual meaning. Even though the written piece of the problem is a novel, essay, paper, article, or letter, killing your darling brings great benefits to the reader. My hope is to elucidate the concept of this generally misunderstood and misapplied sentence.
This word may seem to instruct the author specifically to kill a loved one. However, this is often a drawn meaning, but that is not very true. Even Steven King, a popular horror fiction writer, repeated this advice to the writers. "Although you kill your spiritual little clerk, kill your lover and kill your loved ones, King's characters are often more common than other genres, but the character is Instead of pointing it actually points to everything in the piece.In some cases there is the possibility that there will be letters cut from the story if it does not become completely irrelevant without a darling segment This is a situation of incidental damage such as the author loses a character in the process of cutting darling.
There are words that Faulkner actually came out first than Dr. Arthur Quiller-Couch, but here I list it as a prelude to fully explain the concept of Kill Your Darling: "According to you very fine sentences it Please - please bear in mind - remove it and send your manuscript to the press Please kill your darling. "His advice is that the person, Impulse It is based on the high opinion of the writer about how wonderful it is. This impulse is not just a second, it may actually last for a long time. The idea is that the emotional connection is concerned to the author, but this is not translated by default for the reader.
Here, there is a lesson that the writer should take from "kill (or kill) your darling". The important point is to get rid of things in your work that you do not do well for the reader. This may be part of a story that survived from the passage of many revisions and edits. What is in the artist 's mind is true love. But it is completely unnecessary and disposable. Authors may find it difficult to objectively look at arguments from intense labor. I do not think that other people have watched the whole story as bad and the writers contain elements that I like very much. Considering the impression of the editor and / or the objective reader before publication rather than based on the author's personal attachment should review all parts of the whole.
If a writer can place reasonable time between writing and editing, it can become a more isolated state that can identify darling pieces that only exist in their own whim. This is a very similar concept to the concept applied to visual art. For example, many artists say that they hide it for several months and even as they generally do not publish or end the work until they come back without feeling anxious newly.
Exclude the following elements.
- Hide the theme and theme of the story
- It is independent and not useful for content purposes
- Like a prose instead of an actual story line
- Focus emphasis
This advice is not telling you to cut things you like or to enjoy from your work. If you do that, the result will be soulless and will probably be unpleasant for everyone who reads it. Sometimes you can salvage by associating darling more to the purpose of the story. Alternatively, if they appear to be part of a completely separate story, they are taken from the current story and used later in the new story. Make sure all the elements are together and add value to the whole story. No one feels like I am surprised to be able to turn off the reader just by traveling outside the story while reading a story. Because it is hard to miss our own ideas and phrases of words, it is best to ask outside opinions as the final act before publication. After all, in order to kill your brothers, you must first identify them.
