Ray Bradbury on How List-Making Can Boost Your Creativity
How to feel your way toward something honest, hidden under the trapdoor on the top of your skull.
By Maria Popova
Susan Sontag argued that lists confer value and guarantee our existence. Umberto Eco saw in them “the origin of culture.” But lists, it turns out, might be a remarkably potent tool for jostling the muse into manifesting — a powerful trigger for that stage of unconscious processing so central to the creative process, where our mind-wandering makes magic happen.
In Zen in the Art of Writing (public library), one of these ten essential books on writing, Ray Bradbury (August 22, 1920–June 5, 2012) describes an unusual creative prompt he employed in his early twenties: He began making long lists of nouns as triggers for ideas and potential titles for stories:
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.
Bradbury would later come to articulate his conviction that the intuitive mind is what drives great writing, but it was through these lists that he intuited the vital pattern-recognition machinery that fuels creativity. Echoing Einstein’s notion of “combinatory play,” Bradbury considers the true value of his list-making:
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.
So he went on making lists, hoping they’d spark these fruitful associations that the rational mind tucks away in the cabinets of “useless knowledge”:
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.
Bradbury, who has since shared timeless wisdom on withstanding the storm of rejection, recalls:
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.
But more than merely sharing the amusing story of his youth’s quirky habit, Bradbury believes this practice can be enormously beneficial for any writer, both practicing and aspiring, as a critical tool of self-discovery:
If you are a writer, or 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.
He offers himself as a testament:
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.
He urges the aspiring writer:
Conjure the nouns, alert the secret self, taste the darkness … speak softly, and write any old word that wants to jump out of your nerves onto the page…
Shortly before his death, Bradbury speaks to his official biographer, Sam Weller — who also conducted Bradbury’s lost Comic Con interview — and revisits the subject of list-making in a Paris Review interview:
Three things are in your head: First, everything you have experienced from the day of your birth until right now. Every single second, every single hour, every single day. Then, how you reacted to those events in the minute of their happening, whether they were disastrous or joyful. Those are two things you have in your mind to give you material. Then, separate from the living experiences are all the art experiences you’ve had, the things you’ve learned from other writers, artists, poets, film directors, and composers. So all of this is in your mind as a fabulous mulch and you have to bring it out. How do you do that? I did it by making lists of nouns and then asking, What does each noun mean? You can go and make up your own list right now and it would be different than mine. The night. The crickets. The train whistle. The basement. The attic. The tennis shoes. The fireworks. All these things are very personal. Then, when you get the list down, you begin to word-associate around it. You ask, Why did I put this word down? What does it mean to me? Why did I put this noun down and not some other word? Do this and you’re on your way to being a good writer. You can’t write for other people. You can’t write for the left or the right, this religion or that religion, or this belief or that belief. You have to write the way you see things. I tell people, Make a list of ten things you hate and tear them down in a short story or poem. Make a list of ten things you love and celebrate them. When I wrote Fahrenheit 451 I hated book burners and I loved libraries. So there you are.
(That’s exactly what Roland Barthes did in 1977, to a delightful effect.)
Zen in the Art of Writing remains a must-read in its entirety, and a fine addition to the collected advice of great writers. Complement it with Bradbury on writing with joy and this fantastic 1974 documentary about his fantastical mind.
For more wisdom on writing, see Stephen King on the art of “creative sleep,” Elmore Leonard’s 10 rules of writing, Walter Benjamin’s thirteen doctrines, H. P. Lovecraft’s advice to aspiring writers, F. Scott Fitzgerald’s letter to his daughter, Zadie Smith’s 10 rules of writing, David Ogilvy’s 10 no-bullshit tips, Henry Miller’s 11 commandments, Jack Kerouac’s 30 beliefs and techniques, John Steinbeck’s 6 pointers, and Susan Sontag’s synthesized learnings.
Published October 18, 2013