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Ne soyez pas un nuage solitaire

juillet 25, 2024 | 4 lire la lecture

La mythologie romantique de l'ermite est profondément ancrée dans chaque individu créatif. Pour un écrivain, cette idée est particulièrement séduisante : disparaître de la vue pour réapparaître des mois plus tard avec le prochain roman unique en son genre.

Mais, contrairement à la croyance populaire, la légende de l’ermite brillant n’est probablement que cela : une légende, un idéal, un archétype, un rêve.

De nombreux écrivains prolifiques pensaient incarner le Les reclus romantiques, comme William Wordsworth, Henry David Thoreau et Emily Dickinson, défient en réalité le stéréotype.

Une étude plus approfondie révèle que nous, en tant qu’écrivains, devons vivre pleinement présents dans le monde.

Ce ne sont pas les ermites que vous recherchez

Prenons l'exemple du poète populaire William Wordsworth. Sa poésie regorge de magnifiques odes à la nature et aux pensées qui nous viennent de la solitude. Extrait de son poème« J'errais seul comme un nuage » :

J'ai erré seul comme un nuage
Qui flotte au-dessus des vallées et des collines,
Quand tout à coup j'ai vu une foule,
Une foule de jonquilles dorées ;
Au bord du lac, sous les arbres,
Volant et dansant dans la brise.
...
Car souvent, quand je suis allongé sur mon canapé
D'humeur vacante ou pensive,
Ils brillent sur cet œil intérieur
Quelle est la félicité de la solitude ;
Et puis mon cœur se remplit de plaisir,
Et danse avec les jonquilles.

Malgré la perception du public selon laquelle Wordsworth était un « ermite », il avait en réalité une vie sociale active et entretenait des relations saines avec d’autres écrivains.

De plus, il est resté actif sur les questions politiques et sociales de l’époque et a fréquemment voyagé – des aspects de sa vie qui ont eu un impact considérable sur son travail.

Emily Dickinson, une autre poétesse célèbre, réputée pour son mode de vie d'ermite, était active elle aussi durant sa jeunesse, entretenant des liens sociaux et entretenant des relations par l'écriture épistolaire.

En fait, ce n'est que dans les dernières années de sa vie que Dickinson est devenue plus solitaire en raison de problèmes de santé mentale.

Même Henry David Thoreau n'a vécu que deux ans dans sa cabane isolée de l'étang de Walden ! Dans Walden , il écrit :

« Je ne suis naturellement pas un ermite, mais je pourrais peut-être être le plus robuste des habitués du bar, si mes affaires m'y appelaient. »

Pour écrire, il faut d'abord vivre

Mais ne pas être un écrivain isolé du monde ne suffit pas. Les écrivains classiques de toute l'histoire ont témoigné de la nécessité de se lever et de vivre , d'expérimenter le monde, avant de s'asseoir pour écrire à son sujet.

Ernest Hemingway, romancier de la Génération perdue, a déclaré un jour :

« Pour écrire sur la vie, il faut d’abord la vivre. »

Même Thoreau , l'un des exemples les plus célèbres de l'archétype de l'écrivain-ermite, a proclamé :

« Comme il est vain de s’asseoir pour écrire quand on ne s’est pas levé pour vivre. »

Et Mark Twain nous a dit de :

« Écrivez ce que vous savez. »

Les voyages et les expériences de Twain ont eu un impact profond sur lui et sur son écriture ; s'il avait été un ermite, il n'aurait probablement jamais acquis les connaissances nécessaires pour façonner des histoires autour de la société complexe qui l'entourait - la vie pendant la guerre civile américaine et une période rapide d'industrialisation et d'urbanisation en Amérique.

Nombre des plus grands écrivains des siècles derniers, même ceux que l'on considérait généralement comme de glorieux ermites, rejetaient l'idée que la solitude puisse soudainement mener à une grande œuvre. Du moins, pas sans avoir vécu au préalable.

Le romantisme de la solitude

Si les plus grands écrivains ermites de la littérature classique n’étaient pas de tels écrivains, pourquoi le romantisme de cette idée persiste-t-il encore aujourd’hui ?

L'idée est probablement née à l'époque romantique, de la fin du XVIIIe au milieu du XIXe siècle, lorsque certains écrivains vénéraient l'individualisme. Si Wordsworth et Thoreau faisaient effectivement partie de ce groupe, leur insistance sur la solitude est mal comprise.

Contrairement à la croyance populaire, les grands poètes ne préconisaient pas aux écrivains d'abandonner leurs amis, leur famille, leurs autres loisirs, leur travail, leur vie entière, à la recherche de la solitude. Au contraire, Wordsworth et Thoreau cherchaient à souligner la valeur du temps personnel et, bien sûr, de la nature, comme moyen de favoriser une compréhension plus profonde du monde et de susciter l'inspiration.

Les médias modernes n'ont pas encore réussi à dissiper ce mythe. Des films populaires comme Capote montrent le mode de vie isolé de l'auteur éponyme. De même, le roman Big Sur dépeint le romancier et poète Jack Kerouac s'installant dans une cabane isolée pour y approfondir son processus de réflexion. Mais, en réalité, aucun des deux auteurs ne s'est complètement isolé de la société.

La notion de génie solitaire est une légende, et essayer de recréer ce genre de style de vie peut en réalité entraver la créativité, sans parler de la santé mentale.

Construire la solitude moderne

Même si personne ne recommande de se retirer complètement de la société pour écrire son livre, il est indéniable que les écrivains modernes doivent faire face à une distraction à un niveau inconnu de Wordsworth et de ses contemporains.

La technologie moderne est plus efficace que jamais pour capter et retenir notre attention. Ainsi, à dose raisonnable, l'isolement peut être bénéfique à l'écrivain moderne. Le simple fait d'éliminer les distractions peut aider les écrivains à mieux se concentrer sur leur travail et à dégager plus d'espace pour explorer leurs idées.

La bonne nouvelle ? Pas besoin de déménager dans une cabane en forêt. Il vous suffit d'avoir un Freewrite .

En tant qu'écrivains, il est courant de se sentir coupable lorsqu'on n'écrit pas. C'est un peu comme avoir toujours des devoirs à faire. Mais il est important de se rappeler que même les plus grands ont pris soin de vivre.

Alors n'annulez pas vos rendez-vous avec vos amis. Ne passez pas chaque instant éveillé les yeux rivés sur la page blanche. Ne vendez pas tout et ne partez pas à Paris pour incarner les âmes de la Génération Perdue.

Vis ta vie.

Vivez votre vie et écrivez à ce sujet.

RETOUR À « COMMENT ÊTRE CONSTAMMENT CRÉATIF »

août 26, 2026 5 lire la lecture

Freewriter Mike Somerby left a lucrative marketing career in e-commerce to start a print-only literary magazine by and for Montanans. Yes, you read that right.

We sat down with Mike to find out how ... and why.

Mike Somerby identifies as a writer — with some reservation.

"I think all who write are 'writers,'" he says, "even if the writing itself amounts to a simple letter to a friend or a personal journal entry."

We couldn't agree more. And we're thrilled that this particular writer writes his essays on Freewrite. Maybe that's why we felt comfortable asking him:

What inspires a professional brand marketer to leave his 9-5 and jump feet-first into the literary world of Bozeman, Montana?

Luckily, he was happy to tell us.

AC: Before we get into the lit mag, it actually isn't your first foray into the literary community, right?

MS: For about ten years — the lion's share of my professional chapter — I worked, in some capacity, as a brand marketer. Last spring, while enduring a particularly grueling stint as CMO for a Montanan e-commerce brand (yes, those exist), I found myself revisited by the remarks of an old journalism school professor: from his perspective, journalism students who apply their storytelling talents toward PR and marketing have crossed over to "the dark side."

While I find this a touch heavy-handed, I get the point, and I believe his notion resurfaced to meet the moment: we live in a world sorely hurting for analog (human) creativity and high-quality longform.

So I quit, traveled west with my dog in a 1986 U-Haul I'd converted into a camper, and plotted.

Step one: I founded Pulphead, a lounge (named after John Jeremiah Sullivan’s seminal 2011 essay collection) where Bozeman writers commune and grind out their prose until 2 a.m. Entry is a flat $5, which comes with unlimited drip coffee and tea.

Step two: leverage the Pulphead regulars and its online following to secure contributors for my new literary magazine, ANEMONE. Thus far, everything is going to plan.

We live in a world sorely hurting for analog (human) creativity and high-quality longform.

AC: Why do you think it's so important to create and preserve these spaces for authentic writing?

MS: Writing is a solitary act. Nonetheless, younger generations, in particular, struggle to forge IRL community in the way older generations might understand as an ordinary facet of being human.

By building a space that is as homey as it is supportive of their literary interests, we’re not only helping these individuals find their birds of a feather, but also providing them with a dojo that mandates setting aside blocks of time away from phones, home lives, and the other distractions. Win-win?

Incidentally, Livingston boasts the highest per-capita concentration of professional writers anywhere in the country. Couple this with another statistic — that Montana has more bookstores per capita than any other state — and it becomes clear southwest Montana is as fertile a place as any to invest in literature and its related industries.


AC: That's so interesting. What have you learned from being in community with creatives in Bozeman?

MS: In terms of writing, I've learned plenty. What has excited me most, however, is what I’ve learned from a small group of Indigenous women who come to the shop to write poetry and make beaded clothing in the traditions of their respective tribes (most notably, Crow, Cheyenne, Shoshone).

This is a group I’d otherwise have limited opportunity to engage with outside of Pulphead, and learning about their traditions, beliefs, hopes — even a little vocabulary — through firsthand conversation has proved incredibly edifying.

AC: And you mentioned you've seen Freewrites pop up in Pulphead. You use one, right?

MS: Yes. About seven years ago, not long after moving to Montana from New York, I purchased an Olivetti Lettera 32 typewriter from eBay. It appeared that a romanticizing of my newfound remoteness had rekindled my interest in writing.

I loved the mechanical feel and distraction-free interface, but the inability to edit line by line proved a notable annoyance for a mind habituated to modern computers. A few years down the road, some digging for alternatives led me to a blog post about smart/electronic typewriters. Voilà.

I purchased a Freewrite Gen3 Smart Typewriter, and I've been hooked ever since.

AC: That's awesome. So tell us about ANEMONE. What is it?

MS: ANEMONE is a print-only magazine (printed in a traditional broadsheet newspaper format). As for for theme, broadly, the world as told by Montanans. Short fiction, creative nonfiction, poetry, reportage, photography, and visiual illustrations comprise the submission categories.

AC: Print-only!

MS: Print is only dying because we let it.

AC: Is there a story about the name?

MS: Most people know the word anemone to describe a family of flowers — a 200-plus-species family of buttercups, comprising varieties both wild and domesticated. Dubbed “windflowers,” their delicate petals are said to blow open in the breeze; the ancient Greek word anemos means “wind.” I was drawn to the metaphorical value of beauty and how it can be revealed to us through an invisible force.

To add another layer, when I was a boy my father and I would spend weekends at the beaches north of San Francisco, where I was born and raised until I was seven. We would study the massive turqoise, kelly green, and purple sea anemones clinging to rocks left exposed by the receding Pacific tides (as to why, I can't say, outside of them looking funny, almost alien). A good memory.

Finally, “Anemone” is the name of an exquisite song by The Brian Jonestown Massacre, an irreverent and controversial rock band led by Anton Newcombe, an obsessive creative who rejects the surrender of culture and art to commercial interests. The track has a hold on me. It's like a portal to another era.

AC: Why do you think this sort of analog creativity is important?

MS:  I'm told the unending deluge of digital interface is leaving humans less and less capable of “deep work.” Will we ever know the difference?

Will we recognize what a society incapable of deep work looks like compared with those that came before it? Or will the transition manifest as a gradual degradation of quality, much as Coca-Cola was slowly, but surely, divorced from real sugar, such that to taste what Coke used to be like, one must order a Mexican Coke, still made with real cane sugar?

For me, analog perspective (and any creativity wrung from it) is rooted in continuity, tangibility, lived experience, slowness, spatial relation, nuance, emphasis on process, and grace for imperfection — antithetical to one of replicability, speed, binary outcomes, predictability, and optimization.

I prefer the former, and I suspect those who prefer the latter don't read or write much — life is a beautiful, taxing mess, and good writers find merit in this duality.

For me, analog perspective (and any creativity wrung from it) is rooted in continuity, tangibility, lived experience, slowness, spatial relation, nuance, emphasis on process, and grace for imperfection — antithetical to one of replicability, speed, binary outcomes, predictability, and optimization.

AC: Who is invited to submit to ANEMONE?

MS: We do limit submissions to Montanans, past and present, though we will feature writers from other states should the content of their writing bear an obvious relation to Montana — a requirement not imposed on Montanan writers.

All information regarding submissions can be found at www.anemonereview.com, along with all other facets of the magazine.

août 26, 2026 1 lire la lecture

Love the Freewrite 500? Here are 3 more writing contests for competitive short fiction writers.

1) Writers' Hour Magazine Prompts

The London Writer's Salon (a global writing group — no London residence necessary!) regularly host a writing contest via their Writers' Hour Magazine. Want to know a secret? Their September theme is all about freewriting.

Join them for a free workshop, Introduction to Freewriting, on Thursday, September 3, and get all the details about the contest.

The winner of the contest will win something Freewrite-shaped. 👀

2) NYC Midnight Challenges

This organization (again, no affiliation with NYC necessary) regularly hosts short story contests. Their next challenge is all about writing a rhyming story.

Learn more and register here.

Note: NYC Midnight writing contests generally have a fee to enter.

3) Henshaw Press Short Story Competition

This short story competition is open to anyone over age 16. And the best part? There is a cash prize, and profits go to charity.

Learn more here.

juillet 30, 2026 2 lire la lecture

PRESENTED IN COLLABORATION WITH

Calling all micro-fiction storytellers! 🏁

For the second year in a row, Freewrite is teaming up with Grant Faulkner, co-founder of the Flash Fiction Institute and author of The Art of Brevity, to bring you the fastest, most adrenaline-pumping writing event of the year.

Whether you're a seasoned writer or a creative rookie, the Freewrite 500 is your chance to rev up your imagination, write a 500-word story, and win big.

You do not need to own a Freewrite to participate.

[REGISTRATION CLOSED]

 

How It Works

🎟️ Fill out the form above to secure your spot. It's totally free. (You must register to participate.)

📖 Watch the free mini flash fiction lesson by Grant Faulkner, which includes the announcement of the prompt for the contest. WATCH IT HERE.

📝 You'll have the weekend to finish and submit your 500-word storybased on the prompt by end of day on Monday, August 17. Entries must be 500 words or less. The entry form is plain text. Any necessary formatting should be noted in [brackets]. [SUBMISSIONS CLOSED]

✏️ Our judging panel, led by Faulkner and made up of writers from the Freewrite team and the Flash Fiction Institute, will judge each piece based on: length (500 words), relevance to the prompt, and creativity.

🥇 NEW THIS YEAR: The panel will select three finalists, and then announce one grand prize winner.

All work must be submitted by 11:59 p.m. ET on Monday, August 17, 2026.

The Prize Pack

One winner will receive:

  • Publication on the Freewrite blog and Flash Fiction Institute blog
  • 1 Freewrite Traveler
  • 1 hour-long one-on-one coaching session with Grant Faulkner
  • 1 free Flash Gym session with the Flash Fiction Institute
  • 1 Words Are Hard prompt deck
  • A paperback copy of Set Your Story Free, the ultimate guide to freewriting
  • A digital copy of the opening chapter of Grant Faulkner's book, The Art of Brevity

Second and third place writers will each receive:

  • Publication on the Freewrite blog and Flash Fiction Institute blog
  • 1 Freewrite Alpha
  • 1 free Flash Gym session with the Flash Fiction Institute
  • Words Are Hard prompt deck
  • A paperback copy of Set Your Story Free, the ultimate guide to freewriting
  • A digital copy of the opening chapter of Grant Faulkner's book, The Art of Brevity

The Schedule

  • Thursday, Aug 13: Lesson & prompt announcement
  • Monday, Aug 17: Submissions deadline
  • Monday, Aug 31: Finalists announced
  • Monday, September 7: Grand prize winner announced

Questions? You can reach us at hello@getfreewrite.com.

Write on.

The Freewrite 500 Pit Crew 🏁 

Full contest terms and conditions