MANILA, Philippines - Budding writers are often confronted by elders like us who remind them to be grateful for what they have nowadays. These include workshops, how-to publications, specific courses in school, and free lectures from masters who have gone through the daily grind and now share their pains and successes with the new generation.
One of the best forums we have attended was one conducted by the Philippine STAR Lifestyle section in cooperation with National Book Store (NBS) on the occasion of the STAR’s Literary Month and 25th anniversary this year. Lifestyle editor Millet Mananquil managed to gather in one place, at one time, the acclaimed icons of the written word, ending up with standing-room attendance in various venues in January.
The series presented Filipino poets, F. Sionil Jose, Jessica Zafra and Butch Dalisay. When it ended, anyone attending the lectures would have been given an inimitable experience in learning.
The last lecture headed by Butch Dalisay with panelists broadcast journalist Rico Hizon with BBC in Singapore, filmmaker Pepe Diokno of Engkwentro fame that won two awards at the Venice Film Festival of 2009, and NBS lawyer/book publisher Miguel Ramos who tackled the topic of how writers can improve their craft and earn a living from writing.
Dr. Jose Dalisay Jr., better known as Butch, wears many hats along with his many accomplishments. He is a novelist whose second novel Soledad’s Sister was shortlisted for the inaugural Man Asian Literary Prize; scriptwriter of many movies among them those of Lino Brocka and Laurice Guillen; biographer of Sen. Sotero Laurel, the La Salle Brothers, Herminio Disini, and most recently Rosa Rosal; and a full professor of English at UP.
Of all his involvements, it is that of being a teacher that touches us most as it illustrates his drive for passing on to the next generation all surprise attendance that he has learned. In fact Butch has designed a professional writing course that he teaches at UP, precisely, he says, to give the creative writing and English major an idea of what the real world out there is for the writer and how he can live off his writing. This is because Butch is one of those who did succeed in doing precisely this all these years — living off his writing.
How does he do it, one wonders? His first lesson for the Shangri-La audience was to accept the two types of writing — writing for oneself as a creative writer, and writing for others. The problem is that Filipinos are not a book-reading public, and chances are few will read his book of poems or latest novel. “You cannot make a living in this country from creative writing,” Butch says with finality.
The other option is to write for others, such as the movies, television, biographies, advertising, and for newspapers. Here, one must recognize that he is no longer the boss, that one’s work will undergo very many rewrites, that when it is finally given the go signal it is possible he will not recognize his own work, which happens a lot in the movies and television, or he may not be paid at all. “It is only today that professional contracts are being drawn up which gives the writer some protection.”
Pepe Diokno, who won two major awards in the 2009 Venice Film Festival for Engkwentro, adds that there are ways to protect one’s written work, for instance by registering online with WGA Writers Guild of America.
“I’ve gone into all kinds of writing,” continues Butch. “You must accept all these writing offers and treat them as your first and give it your best — from a P5,000 brochure to a biography.”
Butch doesn’t say so, but we feel he and the panel must be aware that many young creative writers are quite full of themselves. Someone asked him how he became a good writer. He shared what he often tells his students, which is “You must read books. If you keep your reading at a high level, sooner of later you own writing will improve.”
It was now Rico Hizon’s turn, a man who early on vowed to prove his dad wrong in dissuading him from becoming a broadcast journalist. He worked his way up at GMA-7 until he found his niche and became the main anchor of the business news there until 1995 when he joined CNBC News in Hong Kong; and in 2002 he joined BBC in Singapore.
To a whole lot of hoots and applause from the audience (does that mean that broadcast journalists are more popular than those from the print world?), Rico was as forthright as Butch in his statements. “Yes,” he says, “You can make a living from writing. Asian writers, particularly Filipinos, shine in regional and global media.” But, he confesses, you have to work overseas to make the kind of money that will make this possible.
Unlike Rico, however, who vouches for the Filipino talent in writing, filmmaker Pepe Diokno feels that we are at par with the west in editing, cinematography and all the technical aspects, but not in the field of scriptwriting. Giving tips for improvement, he advises budding writers to condense the concept of their story into a headline. An example he gave was “Psychologist helps child who can see ghosts,” which was the headline/concept behind the movie The Sixth Sense.
He agrees with Butch that as a scriptwriter one must be more detached and open to rewriting. “Filmmaking is not a solitary work. Your script will go through five to 10 rewrites. Sometimes the script is accepted, but when you see the final version, it is different.”
Miguel Ramos shares the inside word on publishing and distribution. If one expects to make a living as a writer in the Philippines, one will need to go to Singapore or Hong Kong, or, like Miguel Syjuco, hope your book is picked up by an international publisher. Syjuco’s novel Ilustrado, which won a Palanca Award, was published in Spanish, Swedish and Dutch through agents in London and New York.
Similarly, Butch Dalisay had his books published abroad, initially through an agent in India. Obviously, these writers do not just rest on their laurels. They shop around, look for agents who can represent their works abroad.
A book published in the Philippines by a professional publisher such as Anvil will usually have 1,000 copies printed, which may take more than a year to get sold, for which the writer will be paid 15 percent. One can self publish, offers Miguel, like many in the komiks and graphic arts field do, since it is now possible to print on demand even as few as two copies. But that is even more difficult without the distribution system.
As we sit listening to all the questions from the audience and the answers coated in diplomacy, we feel a sobering twinge: that this full house of writing hopefuls will likely not see the fulfillment of all their dreams. Unless they are naturally brilliant, or unless they are halfway brilliant but also possess the passion to improve themselves. And unless they are willing to study and to learn, step by step, accept rejection after rejection, be given assignments that will take them to dangerous, far-flung places, be asked to rewrite a piece 20 times and get rejected anyway in the end. Then — and only maybe then —may they get the break they have been dreaming of.
The truth hurts. But for some, it may be just the challenge they need to get started.
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