A Writer Needs Three Things

A writer needs three things, experience, observation and imagination, any two of which, at times any one of which, can supply the lack of the others.

WILLIAM FAULKNER

Don't Be Bullied By Punctuation

When speaking aloud, you punctuate constantly—with body language. Your listener hears commas, dashes, question marks, exclamation points, quotation marks as you shout, whisper, pause, wave your arms, roll your eyes, wrinkle your brow. In writing, punctuation plays the role of body language. It helps readers hear you the way you want to be heard. Careful use of those little marks emphasizes the sound of your distinctive voice and keeps the reader from becoming bored or confused. . . . [Punctuation] exists to serve you. Don’t be bullied into serving it.

RUSSELL BAKER 

The Most Important Part of Storytelling

I think the most important part of storytelling is tension. It's the constant tension of suspense that in a sense mirrors life, because nobody knows what's going to happen three hours from now.

RICHARD CONDON

A Writer Must Give Away Secrets

Literature, like magic, has always been about the handling of secrets, about the pain, the destruction, and the marvelous liberation that can result when they are revealed. If a writer doesn't give away secrets, his own or those of the people he loves, if he doesn't court disapproval, reproach and general wrath, whether of friends, family or party apparatchiks...the result is pallid, inanimate, a lump of earth.

MICHAEL CHABON

Go Where Your Characters Lead You

Trollope said, “On the last day of each month recorded, every person in a work of fiction should be a month older than on the first.” We go with our characters wherever they lead us, and as time makes its mark on us, so it must on them.

HALLIE BURNETT

Freewriting

Freewriting is the easiest way to get words on paper and the best all-around practice in writing that I know. To do a freewriting exercise, simply force yourself to write without stopping for ten minutes. Sometimes you will produce good writing, but that's not the goal. Sometimes you will produce garbage, but that's not the goal either. You may stay on one topic, you may flip repeatedly from one to another: it doesn't matter. Sometimes you will produce a good record of your stream of consciousness, but often you can't keep up. Speed is not the goal, though sometimes the process revs you up. If you can't think of anything to write, write about how that feels or repeat over and over "I have nothing to write" or "Nonsense" or "No." If you get stuck in the middle of a sentence or thought, just repeat the last word or phrase till something comes along. The only point is to keep writing.

Or rather, that's the first point. For there are lots of goals of freewriting, but they are best served if, while you are doing it, you accept this single, simple, mechanical goal of simply not stopping. When you produce an exciting piece of writing, it doesn't mean you did it better than the time before when you wrote one sentence over and over for ten minutes. Both times you freewrote perfectly. The goal of freewriting is in the process, not the product.

PETER ELBOW

The Point Is To Be Heard

Each of us is like a desert, and a literary work is like a cry from the desert, or like a pigeon let loose with a message in its claws, or like a bottle thrown into the sea. The point is: to be heard—even if by one single person.

FRANÇOIS MAURIAC

Vanity Publishing

With one exception, any publication opportunity you can seize is worth seizing; ever-widening ripples move out from even the smallest splash. Something more like a self-contained plop is all you’re likely to get, however, if you resort to a vanity press. Vanity publishing is not the same as either subsidy publishing or self-publishing, though the terms are often used as if they were synonymous. Subsidy publishing is best defined by its guaranteed audience; self-publishing is partly defined by its realistic efforts to find an appropriate audience; vanity publishing frequently involves no audience at all.

JUDITH APPELBAUM

Murder Your Darlings

If you require a practical rule of me, I will present you with this: Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—wholeheartedly—and delete it before sending your manuscript to press. Murder your darlings.

ARTHUR QUILLER-COUCH

Write As Little As Possible

Taking the question in general, I should say, in the case of many poets, that the most important thing for them to do . . . is to write as little as possible.

T.S. ELIOT

The Unconscious Takes Over

The unconscious mind takes the germ of an idea and develops it, but usually this happens only when a writer has tried hard, and logically, to develop it himself. After he has given it up for a few hours, getting nowhere, a great advancement of the plot will pop into his head. I have been waked up in the night sometimes by a plot advancement or a solution of a problem that I had not even been dreaming about.

PATRICIA HIGHSMITH

On Writing Dialogue

Read almost any newspaper interview, and you’ll conclude that the dialogue of real people is more stilted and implausible than the dialogue of invented characters. Trying to make real people sound real on the page is necessarily an exercise in impressionism. Nothing teaches one the subtleties of punctuation so well as an attempt to take a skein of actual speech and restore to it the pauses, ellipses, switches of tone and speed, that it had in life.

JONATHAN RABAN

Write What You Really Think

Write what you really think and mean, not what you think you should think and not what you thought you would think and not what you hope it will mean, but what is really authentic and true.

SUSAN ORLEAN

The Love of Other Writers Is Important

When you start reading in a certain way that’s already the beginning of your writing. You’re learning what you admire and you’re learning to love other writers. The love of other writers is an important first step.

TESS GALLAGHER

If You Are A Writer, Live A Long Time

One of the amusements of being old is that I have no illusions about my literary position. I have been taken very seriously, but I have also seen essays by clever young men on contemporary fiction who would never think of considering me. I no longer mind what people think. On the whole, I have done what I set out to do. Now my age makes everyone take me very seriously. If you are a writer, live a long time. I have found that longevity counts more than talent.

W. SOMERSET MAUGHAM

If You Walk in the Mist, You Get Wet

If you read good books, when you write, good books will come out of you. Maybe it’s not quite that easy, but if you want to learn something, go to the source. Basho, the great seventeenth-century Haiku master said, “If you want to know about a tree, go to the tree.” If you want to know poetry, read it, listen to it. Let those patterns and forms be imprinted in you. Don’t step away from poetry to analyze a poem with your logical mind. Enter poetry with your whole body. Dogen, a great Zen master, said, “If you walk in the mist, you get wet.” So just listen, read, and write. Little by little, you will come closer to what you need to say and express it through your voice.

NATALIE GOLDBERG

Don't Write A Novel

If you want to be remembered as a clever person and even as a benefactor of humanity, don't write a novel, or even talk about it; instead, compile tables of compound interest, assemble weather data running back seventy-five years, or develop in tabular form improved actuarial information. All more useful than anything "creative" most people could come up with, and less likely to subject the author to neglect, if not ridicule and contempt. In addition, it will be found that most people who seek attention and regard by announcing that they're writing a novel are actually so devoid of narrative talent that they can't hold the attention of a dinner table for thirty seconds, even with a dirty joke.

PAUL FUSSELL

Beware of the Metaphor

Beware of the metaphor. It is the spirit of good prose. It gives the reader a picture, a glimpse of what the subject really looks like to the writer. But it is dangerous, can easily get tangled and insistent, and more so when it almost works: don’t have a violent explosion pave the way for a new growth.

SHERIDAN BAKER

Read Bad Stuff

If you are going to learn from other writers don’t only read the great ones, because if you do that you’ll get so filled with despair and the fear that you’ll never be able to do anywhere near as well as they did that you’ll stop writing. I recommend that you read a lot of bad stuff, too. It’s very encouraging. “Hey, I can do so much better than this.” Read the greatest stuff but read the stuff that isn’t so great, too. Great stuff is very discouraging.

EDWARD ALBEE

Make Your Characters Want Something Right Away

When I used to teach creative writing, I would tell the students to make their characters want something right away—even if it’s only a glass of water. Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.

KURT VONNEGUT