The thing to remember when you're writing," he said, " is, it's not whether or not what you put on paper is true. It's whether it wakes a truth in your reader. I don't care what literary device you might use, or belief systems you tap into--if you can make a story true for the reader, if you can give them a glimpse into another way of seeing the world, or another way that they can cope with their problems, then that story is a succes.
Interpretation
Writing should resonate with the reader and evoke truth, rather than just convey factual accuracy.
This quote emphasizes that the essence of writing lies not in its adherence to factual truth, but in its ability to evoke a deeper understanding or emotional response in the reader. Charles De Lint advocates for the power of storytelling to transform perspectives and provide coping mechanisms, implying that a successful story is one that connects with the reader's truth and opens their eyes to new possibilities.
In practice
A writer shares this quote at a workshop on creative writing to inspire participants.
She knew this music--knew it down to the very core of her being--but she had never heard it before. Unfamiliar, it had still always been there inside her, waiting to be woken. It grew from the core of mystery that gives a secret its special delight, religion its awe. It demanded to be accepted by simple faith, not dissected or questioned, and at the same time, it begged to be doubted and probed.
Our lives are stories, and the stories we have to give to each other are the most important. No one has a story too small and all are of equal stature. We each tell them in different ways, through different mediums—and if we care about each other, we'll take the time to listen.
Like legend and myth, magic fades when it is unused - hence all the old tales of elfin kingdoms moving further and further away from our world, or that magical beings require our faith, our belief in their existence, to survive. That is a lie. All they require is our recognition.
I want to be magic. I want to touch the heart of the world and make it smile. I want to be a friend of elves and live in a tree. Or under a hill. I want to marry a moonbeam and hear the stars sing. I don't want to pretend at magic anymore. I want to be magic.
We're all made of stories. When they finally put us underground, the stories are what will go on. Not forever, perhaps, but for a time. It's a kind of immortality, I suppose, bounded by limits, it's true, but then so's everything.
When one of my characters becomes aware of a magical element, it might be because the world is wider than we assume it to be, but it might also be a reminder to pay attention to what is here already, hidden only because it's been forgotten.
Failures are inevitable. Unfortunately, in film they live for ever and they're 40 ft wide and 20 ft high.
I suspect that all the agony that goes into writing is borne precisely because the writer longs for acceptance-but it must be acceptance on his own terms.
The accidents of my life have given me the ability to make stories in which different parts of the world are brought together, sometimes harmoniously, sometimes in conflict, and sometimes both - usually both. The difficulty in these stories is that if you write about everywhere you can end up writing about nowhere.
There are many different styles of, and approaches to, tap. My own leans towards a more intellectual view: tap dancing not just for the sake of entertainment but to educate and spark emotion.
My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined.
The object of poetic activity is essentially language: whatever his beliefs and convictions, the poet is more concerned with words than with what these words designate.
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