Don’t try to visualize the great mass audience. There is no such audience—every reader is a different person.

Write about small, self-contained incidents that are still vivid in your memory. If you remember them, it's because they contain a larger truth that your readers will recognize in their own lives. Think small and you'll wind up finding the big themes in your family saga.

I almost always urge people to write in the first person. Writing is an act of ego and you might as well admit it.

Less is more.

There are some writers who sweep us along so strongly in their current of energy--Normal mailer, Tom Wolfe, Toni Morrison, William F. Buckley, Jr., Hunter Thompson, David Foster Wallace, Dave Eggers--that we assume that when they go to work the words just flow. Nobody thinks of the effort they made every morning to turn on the switch. You also have to turn on the switch. Nobody is going to do it for you.

Vulnerability has a strength of its own.

Not everybody has a talent for painting, or for the piano, or for dance. But we can write our way into the artist's head and into his problems and solutions. Or we can go there with another writer.

Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it's not a question of gimmicks to "personalize" the author. It's a question of using the English language in a way that will achieve the greatest clarity and strength.

Writing is such a lonely work that I try to keep myself cheered up.

I'm often dismayed by the sludge I see appearing on my screen if I approach writing as a task--the day's work--and not with some enjoyment.

The writer, his eye on the finish line, never gave enough thought to how to run the race.

The final advantage is the same that applies in every other competitive venture. If you would like to write better than everyone else, you have to want to write better than everyone else. You must take an obsessive pride in the smallest details of your craft. And you must be willing to defend what you've written against the various middlemen--editors, agents, and publishers--whose sights may be different from yours, whose standards are not as high. Too many writers are browbeaten into settling for less than their best.

Don't annoy your readers by over-explaining--by telling them something they already know or can figure out. Try not to use words like "surprisingly," "predictably" and "of course," which put a value on a fact before the reader encounters the fact. Trust your material.

Good writing is good writing, whatever form it takes and whatever we call it.

...being "rather unique" is no more possible than being rather pregnant.

Most writers sow adjectives almost unconsciously into the soil of their prose to make it more lush and pretty, and the sentences become longer and longer as they fill up with stately elms and frisky kittens and hard-bitten detectives and sleepy lagoons. This is adjective-by-habit - a habit you should get rid of. Not every oak has to be gnarled. The adjective that exists solely as a decoration is a self-indulgence for the writer and a burden for the reader.

Most writers sow adjectives almost unconsciously into the soil of their prose to make it more lush and pretty, and the sentences become longer and longer as they fill up with stately elms and frisky kittens and hard-bitten detectives and sleepy lagoons. This is adjective-by-habit - a habit you should get rid of. Not every oak has to be gnarled. The adjective exists solely as a decoration is a self-indulgence for the writer and a burden for the reader.

Mind in language are inseparable. If we violate our language we violate ourselves.

Even a poor translator couldn't kill a style that moves with such narrative clarity.

Writers who think THEY are being criticized when only that writing is being criticized are beyond a teacher's reach. Writing can only be learned when a writer coldly separates himself from what he has written and looks at it with the objectivity of a plumber examining a newly piped bathroom to see if he got all the joints tight.

If a philosophical writer cannot be followed, the difficulty of his subject can be placed only in mitigation of his offense, not in condonation of it. There are too many expert witnesses on the other side.

But on the question of who you're writing for, don't be eager to please.

Learn to enjoy this tidying process. I don't like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I'm coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that wont the game.

But apart from these lazinesses of logic, what makes the story so tired is the failure of the writer to reach for anything but the nearest cliche'. "Shouldered his way," "only to be met," "crashing into his face," "waging a lonely war," "corruption that is rife," "sending shock waves," "New York's finest," - these dreary phrases constitute writing at its most banal. We know just what to expect. No surprise awaits us in the form of an unusual word, an oblique look. We are in the hands of a hack, and we know it right away, We stop reading.

It wont do to say that the reader is too dumb or too lazy to keep pace with the train of thought. If the reader is lost, it's usually because the writer hasn't be careful enough.

It wont do to say that the reader is too dumb or too lazy to keep pace with the train of thought. If the reader is lost, it's usually because the writer hasn't been careful enough

Beware, then, of the long word that's no better than the short word: "assistance" (help), "numerous" (many), "facilitate" (ease), "Individual" (man or woman), "remainder" (rest), "initial" (first), "implement" (do), "sufficient" (enough), "attempt" (try), "referred to as" (called), and hundreds more. Beware of all the slippery new fad words: paradigm and parameter, prioritize and potentialize. They are all weeds that will smother what you write. Don't dialogue with someone you can talk to. Don't interface with anybody.

One of underestimated tasks in nonfiction writing is to impose narrative shape on an unwieldy mass of material.

Probably every subject is interesting if an avenue into it can be found that has humanity and that an ordinary person can follow.

Writing can be taught or learned in the vacuum. We must say to students in every area of knowledge: "This is a how other people have written about this subject. Read it; study it; think about it. You can do it too.

It's no fun to think about infinity and no cinche to write about it. Again, it helps to look for some human link.

I never think of him as a scholar assaulting me with how much he knows, but as a teacher eager to share a lifelong passion for the subject.

Editors are licensed to be curious.

But the secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long words that could be a short word, every adverb that carries the same meaning that's already in the verb. every passive construction that leaves the reader unsure of who is doing what-these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to education and rank.

Was the whole matter of aptitudes a myth – a copout used by people like me to avoid subjects that would force us to think inTherefore threatening ways?

The reader is someone with an attention span of about 30 seconds.

Look for the clutter in your writing and prune it ruthlessly. Be grateful for everything you can throw away. Reexamine each sentence you put on paper. Is every word doing new work? Can any thought be expressed with more economy? Is anything pompous or pretentious or faddish? Are you hanging on to something useless just because you think it's beautiful?...Simplify, simplify.