"As far as the mechanics go, working with other people on received ideas was for me a very interesting technical problem. I can't say that any of my collaborations engaged my heart, but they engaged the craftsman in me"
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Sheckley is doing something sly here: he demotes the romantic mythology of artistic partnership and replaces it with shop talk. Collaboration, in his telling, isn’t communion; it’s engineering. “Mechanics” and “technical problem” make the work sound like a device that has to run smoothly even when multiple hands are tightening different screws. That language is disarmingly cool, and it’s also a kind of self-protection: it lets him praise the process without pretending it made him feel anything he didn’t.
The subtext is about authorship as control. Solo writing flatters the idea of a singular voice; co-writing forces you to negotiate voice, tone, pacing, even the moral temperature of a scene. When Sheckley says “received ideas,” he’s pointing to the shared raw material collaborators often rely on: genre templates, familiar premises, inherited tropes. The challenge isn’t inventing from scratch but making a well-worn engine do something new under pressure. For a satirist and science-fiction ironist like Sheckley, that’s a telling admission: he’s more interested in how stories function than in treating them as personal confession.
“I can’t say that any of my collaborations engaged my heart” lands like a polite refusal to perform sentimentality. He’s not insulting partners; he’s clarifying where his pleasure lives. The “craftsman” line dignifies professionalism over passion, implying a writer can be fully alive in the work without being emotionally entangled in the working relationship. In an era that increasingly sells creativity as therapy or intimacy, Sheckley’s stance feels almost radical: artistry as a learned trade, satisfaction as competence, and collaboration as the most demanding kind of problem-solving.
The subtext is about authorship as control. Solo writing flatters the idea of a singular voice; co-writing forces you to negotiate voice, tone, pacing, even the moral temperature of a scene. When Sheckley says “received ideas,” he’s pointing to the shared raw material collaborators often rely on: genre templates, familiar premises, inherited tropes. The challenge isn’t inventing from scratch but making a well-worn engine do something new under pressure. For a satirist and science-fiction ironist like Sheckley, that’s a telling admission: he’s more interested in how stories function than in treating them as personal confession.
“I can’t say that any of my collaborations engaged my heart” lands like a polite refusal to perform sentimentality. He’s not insulting partners; he’s clarifying where his pleasure lives. The “craftsman” line dignifies professionalism over passion, implying a writer can be fully alive in the work without being emotionally entangled in the working relationship. In an era that increasingly sells creativity as therapy or intimacy, Sheckley’s stance feels almost radical: artistry as a learned trade, satisfaction as competence, and collaboration as the most demanding kind of problem-solving.
Quote Details
| Topic | Work |
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