AdviceToWriters

If you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to music, meditate, exercise; whatever you do, don't just stick there scowling at the problem. But don't make telephone calls or go to a party; if you do, other people's words will pour in where your lost words should be. Open a gap for them, create a space. Be patient.

HILARY MANTEL

Steal! And egad, serve your best thoughts as gypsies do stolen children, disfigure them and make ‘em pass for their own.

RICHARD BRINSLEY SHERIDAN

My advice on dealing with editors is to say yes to all suggestions unless you want to say no, to ask in those cases if the point might be set aside until later, and to proceed thus until all suggestions have been addressed. At that point, the writer should feel free to insist on having his or her way on the points set aside.

THOMAS POWERS

Take a moment to imagine how you will feel when your work is published. Anything that you think will make you uncomfortable or ill at ease…get rid of it. Lose anything that makes you cringe, anything you think is questionable. If you are writing about someone you know in real life and are worried that you are being too mean or maybe you will feel bad and regret it, change or get rid of it. But, at the risk of confusing you entirely, I have also found that sometimes the pieces I write which cause me the most pain and embarrassment are the pieces others like best. Sometimes it is by working through areas of personal discomfort that you stumble to where your own growth is taking place.

MERRILL MARKOE

Don’t try to guess what sort of thing editors want to publish or what you think the country is in a mood to read. Editors and readers don’t know what they want to read until they read it. Besides, they’re always looking for something new.

WILLIAM ZINSSER

If I had to give just one piece of advice to beginning reporters about the single-fastest way they could improve their stories, it'd be to get themselves into the quotes. Asking tough questions. Cajoling the interviewee. Joking with the interviewee. Thinking out loud.

IRA GLASS

You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You've been backstage. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break up.

MARGARET ATWOOD

Success and failure are both difficult to endure. Along with success come drugs, divorce, fornication, bullying, travel, meditation, medication, depression, neurosis and suicide. With failure comes failure.

JOSEPH HELLER

We suggest that whenever anyone sits down to write he should imagine a crowd of his prospective readers (rather than a grammarian in cap and gown) looking over his shoulder. They will be asking such questions as: “What does this sentence mean?” “Why do you trouble to tell me that again?” “Why have you chosen such a ridiculous metaphor?” “Must I really read this long, limping sentence?” “Haven’t you got your ideas muddled here?” By anticipating and listing as many of these questions as possible, the writer will discover certain tests of intelligibility to which he may regularly submit his work before he sends it off to the printer.

ROBERT GRAVES and ALAN HODGE

The secret of getting ahead is getting started. The secret of getting started is breaking your complex overwhelming tasks into small manageable tasks, and then starting on the first one.
MARK TWAIN

There is a scene in Stanley Ellin’s first novel, The Winter After This Summer, in which a young guy being tossed out of college stops by to have a last drink with a favorite professor, and the older man says to the kid, “What are you going to do now? What do you want to be?” And the kid thinks about it for a moment and replies, “Well, I don’t want to be a writer.” And the professor toasts him, saying, “That’s good. There are already too many people around who mistake a love of reading for a talent for writing.” And that is my advice to young writers, too. Forget it. Take up plumbing or electical wiring. The money is vastly better, and the work-hours are more reasonable, and when your toilet overflows, you don’t want Dostoevski coming to your house.

     So when I teach workshops, or lecture to “writers’ groups,” I do my best to discourage as many as possible. This is in no way an attempt to lessen the competition, because I truly, deeply believe that writers are not in competition with each other. What I write, Joyce Carol Oates can’t write; what Ms. Oates writes, Donald Westlake can’t write; and what Kafka did has already been done, all that Hemingway bullshit about “pulling against Chekhov and that all time fast gun heavyweight puncher Tolstoy” notwithstanding. (Hemingway meant, it is now generally accepted, not that one had to go mano-a-mano with any other writer, but that in the words of John Simon—”there is no point in saying less than your predecessors have said.”)

     In the burning core of what I believe to be true about the art and craft of writing, I know that one cannot discourage a real writer. Like von Kleist, “I write only because I cannot stop.” And that is the way of it for a real writer, not for the fuzzyheaded dreamer or parvenu who think’s it’s an easy way to make fame and fortune. You can break a real writer’s hands, and s/he will tap out the words with nose or toes. Anyone who can be discouraged, should be.  They will be happier and more useful to the commonweal as great ballerinas, fine sculptors, sensitive jurists, accomplished historians, imaginative historians.

HARLAN ELLISON

One maxim that my students find helpful is: One thought per sentence. Readers only process one thought at a time. So give them time to digest the first set of facts you want them to know. Then give them the next piece of information they need to know, which further explains the first fact. Be grateful for the period. Writing is so hard that all us, once launched, tend to ramble. Instead of a period we use a comma, followed by a transitional word (and, while), and soon we have strayed into a wilderness that seems to have no road back out. Let the humble period be your savior. There’s no sentence too short to be acceptable in the eyes of God.

WILLIAM ZINSSER

The main rule of writing is that if you do it with enough assurance and confidence, you're allowed to do whatever you like. (That may be a rule for life as well as for writing. But it's definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I'm not sure that there are any other rules. Not ones that matter.

NEIL GAIMAN

Don't look back until you've written an entire draft, just begin each day from the last sentence you wrote the preceding day. This prevents those cringing feelings, and means that you have a substantial body of work before you get down to the real work which is all in . . . the edit.

WILL SELF

I think that to write well and convincingly, one must be somewhat poisoned by emotion. Dislike, displeasure, resentment, fault-finding, imagination, passionate remonstrance, a sense of injustice—they all make fine fuel.

EDNA FERBER

I would recommend the cultivation of extreme indifference to both praise and blame because praise will lead you to vanity, and blame will lead you to self-pity, and both are bad for writers.

JOHN BERRYMAN

“The first law of writing,” said Macaulay, “that law to which all others are subordinate, is this: that the words employed shall be such as to convey to the reader the meaning of the writer.” Toward that end, use familiar words—words that your readers will understand, and not words they will have to look up. No advice is more elementary, and no advice is more difficult to accept. When we feel an impulse to use a marvelously exotic word, let us lie down until the impulse goes away.

JAMES J. KILPATRICK

Crass stupidities shall not be played upon the reader . . . by either the author or the people in the tale.

     The personages of a tale shall confine themselves to possibilities and let miracles alone; or, if they venture a miracle, the author must so plausibly set it forth as to make it look possible and reasonable.

     The author shall make the reader feel a deep interest in the personages of his tale and in their fate.

MARK TWAIN

It isn’t merely that the reviewers are so much cleverer than I, and could write such superior fictions if they deigned to; it’s that even the on-cheering ones have read a different book than the one you wrote. All the little congruences and arabesques you prepared with such delicate anticipatory pleasure are gobbled up as if by pigs at a pastry cart.

JOHN UPDIKE

When you depict sad or unlucky people, and want to touch the reader’s heart, try to be colder—it gives their grief, as it were, a background, against which it stands out in greater relief. As it is, your heroes weep and you sigh. Yes, you must be cold.

ANTON CHEKHOV