FifthView
Vala
I find that #3 must come before "Write what you love."
I.e., if what appears on page happens to be a sign of "can't," I simply can't love what I find there. I know this from much personal experience, heh. It is quite obvious I haven't written what I love, even if I had a lovely idea behind my efforts.
Sometimes I feel that focusing on "what I love" or the grand idea of "artistry" can become a little narcissistic. Narcissus stares at his reflection and feels great love; but perhaps only his eyes see that lovely thing. The water could be rather muddy, his reflection very unclear to any passersby who happen to appear, but he loves it. And what's wrong with that? If Narcissus is happy, shouldn't that be fine for Narcissus? Maybe; I don't know. But all too often there's not even a pool of water, not a real pool, but rather only the idea of a pool and the idea of that beautiful other staring back. The "what I love" doesn't actually make it to the page, may only be a dream for the future. This might not be a problem for the writer, but what does it do for passersby?
Let us suppose that the author goes the extra step and builds a pool of water and many props around it so that any passersby catching a glimpse of the pool will find something lovely reflected there—the author's own lovely thing, but now presented in a way that others can love it also. Could you make the pool an exhibit and sell tickets to see it? Possibly. But what if no one wants to see it? Is this the fault of the 6+ billion other Earthlings who refuse to pay the price? I don't think so.
I also find difficult the proposition that someone can write something that sells without loving it at least a little. Maybe he loves it precisely because it sells, heh. But I'd imagine there'd be a passage here, a passage there, a slight twist on the most common stock, and he'd take a little pride it in. Or a third possibility: He has written the most common of common stock and nothing else—but done so rather well, and loves it for that reason.
I suppose you could say I, too, am not a fan of approaching these considerations as if the 3/4 choices are exclusive.
I.e., if what appears on page happens to be a sign of "can't," I simply can't love what I find there. I know this from much personal experience, heh. It is quite obvious I haven't written what I love, even if I had a lovely idea behind my efforts.
Sometimes I feel that focusing on "what I love" or the grand idea of "artistry" can become a little narcissistic. Narcissus stares at his reflection and feels great love; but perhaps only his eyes see that lovely thing. The water could be rather muddy, his reflection very unclear to any passersby who happen to appear, but he loves it. And what's wrong with that? If Narcissus is happy, shouldn't that be fine for Narcissus? Maybe; I don't know. But all too often there's not even a pool of water, not a real pool, but rather only the idea of a pool and the idea of that beautiful other staring back. The "what I love" doesn't actually make it to the page, may only be a dream for the future. This might not be a problem for the writer, but what does it do for passersby?
Let us suppose that the author goes the extra step and builds a pool of water and many props around it so that any passersby catching a glimpse of the pool will find something lovely reflected there—the author's own lovely thing, but now presented in a way that others can love it also. Could you make the pool an exhibit and sell tickets to see it? Possibly. But what if no one wants to see it? Is this the fault of the 6+ billion other Earthlings who refuse to pay the price? I don't think so.
I also find difficult the proposition that someone can write something that sells without loving it at least a little. Maybe he loves it precisely because it sells, heh. But I'd imagine there'd be a passage here, a passage there, a slight twist on the most common stock, and he'd take a little pride it in. Or a third possibility: He has written the most common of common stock and nothing else—but done so rather well, and loves it for that reason.
I suppose you could say I, too, am not a fan of approaching these considerations as if the 3/4 choices are exclusive.
One might add: "Write what you love."
These are not mutually exclusive for me. I endeavor to do all four. #2 is the one I'm least capable at currently, so it requires more attention. I'm not going to write about something I know nothing about. I'm not going to write more than I can (by definition, impossible). I'm going to write in the genres/subgenres that I love, because I would suck at other genres/subgenres. I've been studying the craft to help make my stories more salable, and trying to apply these techniques.
Look up the etymology of the words "technique" and "technology." They are based on the Greek for "art, craft." One is no less of an artist because of applying certain techniques to their work.