1 Citation in this Annotation:
Marta Vives on Écrire
10 January, 2022
Writing itself is a privileged house. A communication within walls which you can either share or keep private. A whole structure of expression and meditation that its revelation is as active as the writer’s intention.
The bricks and the feathers of writing are accurately clear and blurry at the same time. Whereas most of the time solitude comes as a force of flow, so does the mingling with others and our surroundings.
Isolation and contact are side A and side B of the same meal for the writer. The architecture of the process is absolutely personal. All references of methods of other writers are mere maps of possibility. One might write knowing all the layers of the plot in which the characters follow a schedule of traits, events and consequences. But also, one can easily feel drowned into the need of writing and that necessity could end right there, with the act of the written expression.
However, the daily need of writing is a clear or disguised vocation and those who feel it live in this privileged house. A place where the cost of the living is based on a life strictly related to a constant analysis. That inherent lifestyle comes with the self and the act of making it a professional path is a lifetime decision. When you are writing, your life revolves around writing and when you are not writing, you live knowing you should be doing so. A backpack that is either being filled or emptied and applied to words.
The roots of the structure come with a highly integrated system of our senses directly connected to being alive. Firstly and before consciousness comes the attraction, an input that affects the writer like a sharp pin. It is normally a feeling what inaugurates the awakening of the consciousness and then observation takes place. The writer analyzes the past event that was still in the darkness and brings light to it by scrutinizing it or comparing it to other known events. If the occurred sensation, emotion or event lingers in the writers need to write it, that becomes a focus. And focus is the big topic to disintegrate until it becomes a whole story filled with life around it.
Disintegration of the focus is the architecture of it all. By compartmentalizing the wide picture, the writer accesses curiosity, imagination and research. These are the rooms that one enters firstly to embrace them and later on as a habit in which all the details of the story are envisioned, formed and processed. These rooms first are pictured with walls, to understand which is the stage of the architecture of the story but during development, the walls become laces that unite and associate information. During this stage, when all the fragmented house is already conceived as one, is when side A and side B, solitude and contact, become two phases of a same behavior. An introverted and closed being that writes everything that has already been incorporated in the self like if it was a mere torrent of known information. And the extroverted being that still needs to relate with the context and others to keep the story alive, somehow spontaneous and open to the unexpected. The privilege of the writing house might be the capacity of locking and unlocking the whole place in order to maintain the equilibrium of the writer and the written story.