I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!
No writing is wasted. Did you know that sourdough from San Francisco is leavened partly by a bacteria called lactobacillus sanfrancisensis? It is native to the soil there, and does not do well elsewhere. But any kitchen can become an ecosystem. If you bake a lot, your kitchen will become a happy home to wild yeasts, and all your bread will taste better. Even a failed loaf is not wasted. Likewise, cheese makers wash the dairy floor with whey. Tomato gardeners compost with rotten tomatoes. No writing is wasted: the words you can't put in your book can wash the floor, live in the soil, lurk around in the air. They will make the next words better.
Being a writer all boils down to this: It's you, in a chair, staring at a page. And you're either going to stay in that chair until words are written, or you're going to give up and walk away. The great writers have to fight for their words. They have to choose to write, choose words over distractions, and their characters over their friends. Great writers can be lonely, exhausted souls. But through our characters, we live.
When I met a truly beautiful girl, I would tell her that if she spent the night with me, I would write a novel or a story about her. This usually worked; and if her name was to be in the title of the story, it almost always worked. Then, later, when we'd passed a night of delicious love-making together, after she’d gone and I’d felt that feeling of happiness mixed with sorrow, I sometimes would write a book or story about her. Sometimes her character, her way about herself, her love-making, it sometimes marked me so heavily that I couldn't go on in life and be happy unless I wrote a book or a story about that woman, the happy and sad memory of that woman. That was the only way to keep her, and to say goodbye to her without her ever leaving.
Some writers write to forget. Some forget to write.
Thirty years ago my older brother, who was ten years old at the time, was trying to get a report written on birds that he'd had three months to write, which was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books about birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him put his arm around my brother's shoulder, and said, "Bird by bird, buddy. Just take it bird by bird.
If something inside of you is real, we will probably find it interesting, and it will probably be universal. So you must risk placing real emotion at the center of your work. Write straight into the emotional center of things. Write toward vulnerability. Risk being unliked. Tell the truth as you understand it. If you’re a writer you have a moral obligation to do this. And it is a revolutionary act—truth is always subversive.
Becoming a writer is about becoming conscious. When you're conscious and writing from a place of insight and simplicity and real caring about the truth, you have the ability to throw the lights on for your reader. He or she will recognize his or her life and truth in what you say, in the pictures you have painted, and this decreases the terrible sense of isolation that we have all had too much of.
Swoopers write a story quickly, higgledy-piggledy, crinkum-crankum, any which way. Then they go over it again painstakingly, fixing everything that is just plain awful or doesn’t work. Bashers go one sentence at a time, getting it exactly right before they go on to the next one. When they’re done they’re done.
Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.
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.", The Guardian, 20 February 2010]
Fiction---good fiction, anyway---is dream made flesh, given purpose and drive, and set on a quest to show us the best in us and to give us the power and the tools to dream beyond reality's 'merely good enough' to a vision of what is truly great......and then to give us the stories of men and women of character who in turn inspire those of us who dare to reach for the truly great within ourselves.THAT is why you write fiction.
The internet is killing the art of writing. The big "publish" button begs you to publish even before you go back and make one single edit, and as if this was not enough, you have instant readers who praise your writing skills!-
... The Book is more important than your plans for it. You have to go with what works for The Book ~ if your ideas appear hollow or forced when they are put on paper, chop them, erase them, pulverise them and start again. Don't whine when things are not going your way, because they are going the right way for The Book, which is more important. The show must go on, and so must The Book.
Max sent Scottie some literary advice, the same dictum he gave every college student who called on him. He stressed the importance of a liberal arts education but urged her to avoid all courses in writing. "Everyone has to find her own way of writing," he wrote Scottie, "and the source of finding it is largely out of literature.
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.
I take the rawest, realest moments in anyone’s life and I open them up and lay them bare. The innocence of a five year old child, the awkwardness of a teenager’s first sexual encounter, the heartbreak of longing for a relationship you can’t have, confronting the possibility of the death of your newborn child, whatever it is, you open your soul and put it out there and dare the world to read it, ready to have them stomp on you and laugh, but ready to do it again the next day. You have to put yourself out there as a writer, you can’t play it safe. Great writing isn’t safe.
Be a good reader first, if you wish to become a good writer.
All forms of art are parallel expressions. Writing is not unlike painting or other artistic endeavors. Each artistic endeavor is an expression of the mystery of the world. The job of the artist is to deepen that mystery, express reverence for the mystery of life, and explore the enigmatic aspects of human nature.
Some artists benefit less from being interviewed than they do from being left alone.
A writer gets to live yet another life every time she creates a new story.
Writing a story is like going on a date—you will spoil it if you aren't living in the moment.
Tell a story in lesser and simpler words.
Don’t break the rules when you haven’t fully figured them out yet.
Dreams are good at playing with your memory. They love leaving no trace behind and hate to show up once again in the morning.
The good writing ideas don’t have to be about political turmoil, mass killings, capitalism, racism, injustice, etc. Find that one idea that has deep roots in your heart.
Create a world in front of your readers where they can taste, smell, touch, hear, see, and move. Else they are likely going to move on to another book.
A writer can do without food for a few hours, but not without the sight of books.
Turn those deep feelings and obsessions of your heart into captivating pieces of literature.
Ideas either age like fine wine or rot like potatoes over time.
If you are a singer, you must sing. If you are a dancer, you must dance. If you are a writer, you must write. Don’t suffocate your heart.
As you become a better writer, the writing becomes more difficult. You toil harder to tell a story in a lesser number of words.
Don’t interrupt when your characters take a flight of their own.
Cliches are the viruses that infect your writing with diseases.
If you think there is no time to write now, there would never be.
If certain aspect needs to be inconsistent, it must better be consistently inconsistent throughout the story.
I used to be afraid about what people might say or think after reading what I had written. I am not afraid anymore, because when I write, I am not trying to prove anything to anyone, I am just expressing myself and my opinions. It’s ok if my opinions are different from those of the reader, each of us can have his own opinions. So writing is like talking, if you are afraid of writing, you may end up being afraid of talking
I am not a supporter of burning books; but like poison, some books should be kept away from simple minds who can't take in the strong content they provide
One author said "I write because I want to live a footprint in the sands of history.” It's hard to live a footprint in the sands of history when giants are passing through the same sands unless you are one of the giants
Lord I thank you for the gift of breath, eyes to see, ears to hear, tongue to taste, nose to smell; mouth to speak, face to smile, voice to sing, body to dance, legs to walk, mind to think and hands to write.
In order to protect their good names for posterity, many writers never wrote what they thought or the truth as it stood. That's why truth still lies hidden in matters of power, sex and religion. No wonder they chose to do so, many who dared paid with their heads
Thankfully existing only in SMALL pockets within our discipline, is “intellectual” snobbery. It’s a hushed but ugly truth that people are made to feel not worthy to be among a certain set – didn’t attend the right school or don’t have the requisite abbreviations to follow their name. I know what that feels like. Good thing I'm pigheaded, have a bigger vision and committed to my craft, or I would’ve succumbed to it long ago. That is why when I meet an emerging writer who’s serious about developing their craft, I try to encourage them as much as I can. I say IGNORE the highbrow cliques and prove your mettle by growing, accepting balanced feedback and most of all, creating work that will stand the test of time. Period.
Every beginner possesses a great potential to be an expert in his or her chosen field.
Giving a reader a sex scene that is only half right is like giving her half a kitten. It is not half as cute as a whole kitten; it is a bloody, godawful mess. A half-good sex scene is not half as hot; it actually moves into the negative numbers, draining any heat from the surrounding material.
The pen is mightier than the sword as long as it doesn't run out of ink.
Our stories hold unique inspiration for one another.
If you are writing fiction, think like a god. Release all the power of your imagination; create worlds and destroy them at your will, create as many miracles as your story needs
Great characters- They are pivotal for a great plot. THEN a solid plot: Why then? If you do not have great characters it is impossible to create a good plot, nonetheless a solid one. Once you have built great characters for the scenes, there you have it. It’s just like the movies, you cannot have a great film if the characters are frail and their lines are weak as well. I guess great world-building comes along with a good plot. If there is something that will work fine in a novel is how you will develop from the theme. You’ve got to establish a good timeline, and from there it comes a world. You see the technical matters don’t match or matter as much to me. Even a poorly written story, if there is a good plot and great characters on it will make a divine combination There are simply many cases of it over the mainstream and that even reached the big screen.
There are a lot of ways for a novelist to create suspense, but also really only two: one a trick, one an art.The trick is to keep a secret. Or many secrets, even. In Lee Child’s books, Jack Reacher always has a big mystery to crack, but there are a series of smaller mysteries in the meantime, too, a new one appearing as soon as the last is resolved. J. K. Rowling is another master of this technique — Who gave Harry that Firebolt? How is Rita Skeeter getting her info?The art, meanwhile, the thing that makes “Pride and Prejudice” so superbly suspenseful, more suspenseful than the slickest spy novel, is to write stories in which characters must make decisions. “Breaking Bad” kept a few secrets from its audience, but for the most part it was fantastically adept at forcing Walter and Jesse into choice, into action. The same is true of “Freedom,” or “My Brilliant Friend,” or “Anna Karenina,” all novels that are hard to stop reading even when it seems as if it should be easy.
The world would have been a better place if some men had just shut their mouths.
I am what I have ever read
We write, not because we claim to know more than others, but perhaps because we want to know more than others. Writers are explorers
Words disappear in the air, but writing remains. If you want something to be remembered about you, write it down
A writer is never alone, he is always with himself
You say you have nothing to write about? How do you find things to talk about? You can write about those things you like to talk about, that's your area of expertise
. If you want to write, just write anything that comes into your mind. You will be surprised at how you can force inspiration to stand on your side.
You can edit what you write. Why not edit what you say? If it hurts somebody, you can still offer an apology or withdraw your statements
Able writers let us into their minds and show us how they think and by that open our minds to ourselves
Sometimes I have a good idea, something I wish I could remember, and instead of writing it down, commit it to my memory only to disappear when I needed it. Write your ideas as they come, if you wait it will be too long and you may not recover it. It may get destroyed as it is to seed to and fro in the ever rushing river of our thoughts
If you are afraid of the critics you will never write a word
You never know what you will write until you write it
Write it as you see in your own perspective, you may be right or wrong but then what, that's how you see it
How do you feel when you read stuff written by dead authors? A visit by a ghost?
You cannot write if you are not angry
You cannot write if you are not on fire
Writing is sharing. You share what you have. Great writers have more to share
People speak even after their death. Only do speak those who have recorded their speech in writing before they die, the rest go silent forever
The power of a writer is that he is a god of sorts. He can create his own worlds and populate them with his own people, all by the powers of his imagination. It's the closest a man can come close to the gods. No wonder the most successful writers are considered immortals
Self-censorship is more efficient than any police. You write and say not what you really think, but what you believe is acceptable. By that process we lose those revolutionary ideas that could change society for the better
Many writers write because they’ve been there, seen that, did it and burnt their fingers
A writer reports on the universe. When he presents his credentials, the gates of heaven and hell are equally opened to him. He can hear the devil’s defense and god’s accusations. The guards at the king’s heart let him in. The writer can be anything and any one he wants. When he writes he is a god, he creates.
If I can write, who possibly can’t. Even drawing a line in the sand is writing
The power of the writer is to capture the thoughts live and present them as they appeared in his mind
Writing is self-pleasure
Writing is all about self-expression, we want to speak up, to get it off our chest. Whether we make an impact or not that is not for us to decide
If I had time, money and knowledge I could write about everything; but no problem, Google is already doing it
Writing is magic happening on paper
Every book is worth reading. If it cannot make you wiser it will make you a critic
Today almost everybody is a writer, the enormous publish button on blogs and websites begs you everywhere to click on it! And bam you are a writer. To hell with agents and publishing houses and rejection letters. Immortality for you is on the click of a mouth! We are advancing at the speed of light! You can become an author at 140 characters. To hell with long winding sentences and long hours of scratching the head, the immortals of today instantly get a "like" and they instantly enter the pantheon! They seat side by side Plato, Socrates, Aristotle, St Paul, Buddha, Martin Luther, Rousseau, Bangambiki…
When I write sometimes I strike gold, sometimes I labor in vain and keep producing rubbish
Don't believe in everything that is written. Not everything that is written is true
I’ve learned that the creative life may or may not be the apex of human civilization, but either way it’s not what I thought it was. It doesn’t make you special and sparkly. You don’t have to walk alone. You can work in an office — I’ve worked in offices for the past 15 years and written five novels while doing it. The creative life is forgiving: You can betray it all you want, again and again, and no matter how many times you do, it will always take you back.
6 criteria to upgrade literary production; Correct language, the power of the idea, the fluency in expressing, the connection between ideas and the depth of their meanings, the characters movements towards high convictions whether in the beginning or in the middle, and the ending must serves ideals and values and accomplishes victory to the human beings.
Very early on, near the beginning of my writing life, I came to believe that I had to seize on some object outside of literature. Writing as a sylistic exercise seemed barren to me. Poetry as the art of the word made me yawn. I also understood that I couldn't sustain myself very long on the poems of others. I had to go out from myself and literature, look around in the world and lay hold of other spheres of reality.
Be brave to share your story! Each of our stories, have a golden treasure for a specific need.
Another segment of society that has constructed a language of its own is business. People in business say that toner cartridges are in short supply, that they have updated the next shipment of these cartridges, and that they will finalize their recommendations at the next meeting of the board. They are speaking a language familiar and dear to them. Its portentous nouns and verbs invest ordinary events with high adventure; executives walk among toner cartridges, caparisoned like knights. We should tolerate them--every person of spirit wants to ride a white horse.
You have enough to create what you want.
Talking to oneself is a recognized means to learn, in fact, self-speak may be the seed concept behind human consciousness. Private conversation that we hold with ourselves might represent the preeminent means to provoke the speaker into thinking (a form of cognitive auto-stimulation), modify behavior, and perhaps even amend the functional architecture of the plastic human brain. Writing out our private talks with oneself enables a person to “see” what they think, a process that invites reflection, ongoing thoughtful discourse with the self, and refinement of our thinking patterns and beliefs. Internal sotto voice conversations with our private-self provide several advantages, but most people find it difficult to maintain self-speak for an extended period. Internal dialogue must compete with external distractions. Writing allows a person to resume a personal dialogue where they left off before interrupted by outside stimuli. A written disquisition also provides a permanent record that a person can examine, amend, supplement, update, or reject.
It isn't enough to have had an interesting or hilarious or tragic life. Art isn't anecdote. It's the consciousness we bring to bear on our lives. For what happened in the story to transcend the limits of the personal, it must be driven by the engine of what the story means.
You know how I say, ‘Don’t ask anyone how to get somewhere unless they have been there?’ Well, I have been there – I have written, been published, found success, and experienced self-doubt, frustration, anger and disappointment along the way … But you know what? I have not been to the place you’re going to. This is your journey. Your destination. Disregard everything in this book. Or embrace it. Better yet: cherry pick. It’s your life.
I don't think anybody can teach anybody anything. I think that you learn it, but the young writer that is as I say demon-driven and wants to learn and has got to write, he don't know why, he will learn from almost any source that he finds. He will learn from older people who are not writers, he will learn from writers, but he learns it -- you can't teach it.
You do not need to be temperamental or upset to be a novelist. Don’t embrace the tortured artist rhetoric that any life difficulties might serve to benefit and enhance your writing. That’s damaging. Counterintuitive. Writing can be so incredibly lonely, and when you’re alone with your thoughts for long enough to produce a hundred thousand words of your own headspace, it can be scary. Suffering is not good for your art. Mental health care is. So talk to someone other than your future readers about the problems you are facing. Someone you know and trust. There is no shame in asking for help.
Nothing is wasted when you are a writer. The stuff that doesn't work has to be written to make way for the stuff that might; often you need to take the long way around. And if you're writing memoir you're bound to discover things about yourself you didn't realize before, may indeed prefer never to have know, but there you are: progress of some sort.
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.
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.
Toni Morrison said, "The function of freedom is to free someone else," and if you are no longer wracked or in bondage to a person or a way of life, tell your story. Risk freeing someone else. Not everyone will be glad that you did. Members of your family and other critics may wish you had kept your secrets. Oh, well, what are you going to do? Get it all down. Let it pour out of you and onto the page. Write an incredibly shitty, self-indulgent, whiny, mewling first draft. Then take out as many of the excesses as you can.
Passionate attraction to someone of the opposite sex will make a hero or a fool of a novelist each time.
If we are artists- hell, whether or not we're artists- it is our job, our responsibility, perhaps even our sacred calling, to take whatever life has handed us and make something new, something that wouldn't have existed if not for the fire, the genetic mutation, the sick baby, the accident.
What importance should be given to details, in developing a subject?--Remorselessly sacrifice everything that does not contribute to clarity, verisimilitude, and effect.Accentuate everything that sets the main idea in relief, so that the impression be colourful, picturesque. It's sufficient that the rest be in its proper place, but in half-tone. That is what gives to style, as to painting, unity, perspective, and effect.- Constantin Georges Romain Héger, teacher to Charlotte Brontë
When we sit down to write, we psychically enter a sanctuary. This safe haven is our own personal space where we can say whatever is on our mind, where we can talk about what matters most to us, where we can imagine the kind of world that we would like to live.
...writing allows us to reposition ourselves so we can see what is otherwise in our mental blind spots or those things about oneself and the world that we neither can see nor understand from the spot where we stand.
Aspiring novelists should be taught that the old adage, “Write about what you know,” isn’t limited to what you have personally experienced. Vicarious experience is also a great part of what you know. Read a lot of history and it becomes part of your store of knowledge, part of what you’re prepared to write about. The same goes for stories and memories that other people share with you.
Francie always remembered what that kind teacher told her. “You know, Francie, a lot of people would think that these stories that you’re making up all the time were terrible lies because they are not the truth as people see the truth. In the future, when something comes up, you tell exactly how it happened but write down for yourself the way you think it should have happened. Tell the truth and write the story. Then you won’t get mixed up.
I am sorry, I am not a writer. I simply put my thoughts on paper. Those helped by them call them a book and me a writer. Those who are not helped call it rubbish and me a fool. Both have reason.
One day I will write a book. An epitaph
Every book has its ancestors
Writing is exposing yourself to strangers
Writing is a competition between the writer and the page. When the page wins, you fail as a writer.
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.
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.
If you have received a letter inviting you to speak at the dedication of a new cat hospital, and you hate cats, your reply, declining the invitation, does not necessarily have to cover the full range of your emotions. You must make it clear that you will not attend, but you do not have to let fly at the cats. The writer of the letter asked a civil question; attack cats, then, only if you can do so with good humor, good taste, and in such a way that your answer will be courteous as well as responsive. Since you are out of sympathy with cats, you may quite properly give this as a reason for not appearing at the dedicatory ceremonies of a cat hospital. But bear in mind that your opinion of cats was not sought, only your services as a speaker. Try to keep things straight.
There may be a Nurse Ratched-like listing of things that must be done right this moment: foods that must come out of the freezer, appointments that must be canceled or made, hairs that must be tweezed. But you hold an imaginary gun to your head and make yourself stay at the desk.
On a related note, I think for many of us, the first step in becoming a good writer is to write crap. In all seriousness, none of us are born knowing how to write. Almost all of us will produce a lot of really lousy stories before we start to get good. (Not all of us will choose to publish those lousy stories, but that's a whole separate discussion...)
...ugly interlopers threaten to choke off your story, depriving it of much-needed nutrition, sunlight and water. Identify and cut those weeds – the life-sucking adverbs, the shade-killing descriptions that don’t move the story forward, the crowding passive voice sentences.
Even great, best selling writers produce works that fall flat from expectations. This writing thing isn't easy and everything you produce won't be a best seller, but you must write anyway. You have to write because you love it, because it fuels you, because you can feel the stories living inside you, nudging you, prodding you, itching to get out and the only thing worse than writing it and failing is not writing it. As the late Maya Angelou once said, "There is no greater agony than bearing an untold story inside you."Even if your work doesn't resonate with others, it is still worth writing. And that in itself, is what's important.
What is so frightening about [writing]? I still don't know. Perhaps it's the horrible knowledge that no matter how well you write, the resultant product will never correlate exactly to the truth, will never arrive with quite the melodious voice you hear in the acoustic cavity of your mind.
The biggest thing for aspiring writers I would say is that writing is hard work. You can’t sustain the fantasy that it should somehow be otherwise for you because you are more special or more committed than other aspiring writers. You aren’t sitting down to be entertained by the gods or to entertain yourself. At times it can be a thrill and it feels more like play, but we are easily deceived by whatever pleasures or rewards writing can offer. Exhilarating work is still work. Is it work, or is it play? And the answer is “yes.” Does it sometimes feel like it comes easily or naturally? Yes. But did it really come easily? No. Writing doesn’t offer the rhythmic endorphin hit you get scrolling down the screen clicking on memes. Are you up for the work it is going to take to become successful as a writer? It is going to be harder than you think. You are submitting to forces and to a process that you can’t fully control. There is maybe a tiny bit more control if you self-publish, and there is no shame in doing that, but even that is going to introduce hard work. Probably harder than you think. If my next novel can’t find a home, I’m not above self-publishing it in some capacity and then moving on to the next project.
*Persistence is more important than perfection. If at first you don’t succeed, it doesn’t matter as long as you always try, try again; *Small improvements, made consistently, add up; *You cannot fail unless you quit. What most people call failures are merely unsuccessful experiments. Failures are bumps on the road as long as your story remains a work in progress; *You can always do better with what you already have - and often, it’s much smarter to find ways to do so than to invest time and money trying something entirely new as your next one sure thing; *And most importantly, being good doesn’t matter nearly as much as being slightly better than yesterday.
To help you fill in the details of the world you are creating, imagine that your characters inhabit a real world. Daydream what it would be like to be there. What would your characters eat, what would they talk about, where would they get their supplies, etc. Keep asking the question, “What happens next?” Show your characters actions and write down their thoughts
I've never heard a writer feel that way about a device with a screen. Oh sure, they're functional, practical. We would be lost without them. But just as we need to feel our feet on the earth, smell and taste the world around us, the pen scratching against the page, sensory and slow, is the difference between looking at a high-definition picture of a flower and holding that very same flower in your palm, feeling the brush of its petals, the color of its stamen rubbing off on your fingers.
Celebrate your day of birthday as special day.Make a specific birthday wishes and write it down.You will be amazed about the power of pen and inner strength to accomplish the wishes.This will be a special gift for yourself on each birthday.
When I think of the wisest people I know, they share one defining trait: curiosity. They turn away from the minutiae of their lives-and focus on the world around them. They are motivated by the desire to explore the unfamiliar. They are drawn toward what they don't understand.
I am doubtful myself about the undertaking. Part of the attraction of the L.R. is, I think, due to the glimpses of a large history in the background: an attraction like that of viewing far off an unvisited island, or seeing the towers of a distant city gleaming in a sunlit mist. To go there is to destroy the magic, unless new unattainable vistas are again revealed. Also many of the older legends are purely 'mythological', and nearly all are grim and tragic: a long account of the disasters that destroyed the beauty of the Ancient World, from the darkening of Valinor to the Downfall of Numenor and the flight of Elendil.
I hope you will go out and let stories, that is life, happen to you,and that you will work with these stories from your life--not someone else's life--water them with your blood and tears and your laughter till they bloom, till you yourself burst into bloom. That is the work. The only work.
Authors, such as William Zinsser, Steven Pinker, Natalie Goldberg, and Stephen King, who have all written exquisite books on the art and craft of writing, have reminded me that it is the commitment to the craft that matters the most; the longing to get better and the countless hours of work that go into writing and rewriting. To them I am eternally grateful.
I believe you can consider yourself a successful prose writer when the number of words you put on a page each day is equal to, or greater than, the number of milligrams of mind-altering chemicals you ingest in that day. (Note: this rule does not apply to poets who write in the short-form. You, my boys and girls, are free as birds!)
A real piece of writing is one in which the writer has tried to enrich not only the book, but also his understanding of the words. The words themselves have to be open to new ideas and suggestions, and the writer himself must have the audacity to attempt new things and to risk failure
Every one of the big breakthroughs in the art of literature have possibly started as what many would call a ludicrous or even laughable idea as the writer occasionally balances a routine piece with an investment in the eccentric and untried. Over time, the reward is usually worth the risk
You know too little and it doesn't exist. You know too much and it doesn't exist. Writing is drawing the essence of what we know out of the shadows. That is what writing is about. Not what happens there, not what actions are played out there, but the THERE itself. There, that is writing's location and aim. But how to get there?
Why the tag of ‘aspiring’ writer be the wishful cliché? It’s like a bumper sticker. Say it! I am a Writer. Period. We may all have a target and gradation toward successes, a personal illusion/perception. The quality or perseverance in one’s craft is your act. Flaws? Sure. Yet, you are a Writer, not a wannabe. Let go of the tags. Just write!
Mostly writing requires massive dedication, a whole lot of time spent alone, way too much sitting, countless hours spent thinking hard, and unending and occasionally painful dedication to forming ideas and laboring over the production of sentences, paragraphs, scenes, dialogue, punctuation, and all the elements that go into writing a novel, a play, a screenplay, or a poem. When we're not writing, we're thinking, plotting, imagining, or editing, which can be far more tedious than cranking out first drafts.--Fire Up Your Writing Brain
On writing, my advice is the same to all. If you want to be a writer, write. Write and write and write. If you stop, start again. Save everything that you write. If you feel blocked, write through it until you feel your creative juices flowing again. Write. Writing is what makes a writer, nothing more and nothing less. — Ignore critics. Critics are a dime a dozen. Anybody can be a critic. Writers are priceless. — Go where the pleasure is in your writing. Go where the pain is. Write the book you would like to read. Write the book you have been trying to find but have not found. But write. And remember, there are no rules for our profession. Ignore rules. Ignore what I say here if it doesn’t help you. Do it your own way. — Every writer knows fear and discouragement. Just write. — The world is crying for new writing. It is crying for fresh and original voices and new characters and new stories. If you won’t write the classics of tomorrow, well, we will not have any. Good luck.
Coffee, my delight of the morning; yoga, my delight of the noon. Then before nightfall, I run along the pleasant paths of the Jardin du Luxembourg. For when air cycles through the lungs, and the body is busy at noble tasks, creativity flows like water in a stream: the artist creates, the writer writes.
I believe that we don't choose our stories," she began, leaning forward. "Our stories choose us." She paused and took a sip of water. Her hand, I noticed was steady.. "And if we don't tell them, then we are somehow diminished.
I can tell you that the writing of a book, no matter how deeply, profoundly personal-if it is literature, if you have attended to the formidable task of illumination the human heart in conflict with itself-will do the opposite of expose you. It will connect you. With others. With the world around you. With yourself.
All writing is difficult. The most you can hope for is a day when it goes reasonably easily. Plumbers don’t get plumber’s block, and doctors don’t get doctor’s block; why should writers be the only profession that gives a special name to the difficulty of working, and then expects sympathy for it?
Don't give in to doubt. Never be discouraged if your first draft isn't what you thought it would be. Given skill and a story that compels you, muster your determination and make what's on the page closer to what you have in your mind. The chances are that you'll never make them identical. That's one reason I'm still hitting the keyboard. Obsessed by the secrets of my past, I try to put metaphorical versions of them on the page, but each time, no matter how honest and hard my effort, what's in my mind hasn't been fully expressed, compelling me to keep trying. To paraphrase a passage from John Barth's "Lost in the Funhouse," I'll die telling stories to myself in the dark. But there's never enough time. There was never enough time.
So they spread the paintings on the lawn, and the boy explained each of them. "This is the school, and this is the playground, and these are my friends." He stared at the paintings for a long time and then shook his head in discouragement. "In my mind, they were a whole lot better."Isn't that the truth? Every morning, I go to my desk and reread yesterday's pages, only to be discouraged that the prose isn't as good as it seemed during the excitement of composition. In my mind, it was a whole lot better.Don't give in to doubt. Never be discouraged if your first draft isn't what you thought it would be. Given skill and a story that compels you, muster your determination and make what's on the page closer to what you have in your mind.
Perhaps the hardest thing in all literature— at least I have found it so: by no voluntary effort can I accomplish it: I have to take it as it comes— is to write anything original. And perhaps the easiest is, when once an original line has been struck out, to follow it up, and to write any amount more to the same tune.
The difference between wanting to write and having written is one year of hard, relentless labour. It's a bridge you have to build all by yourself, all alone, all through the night, while the world goes about its business without giving a damn. The only way of making this perilous passage is by looking at it as a pilgrimage.
Well, I like him. There’s a darkness to him. But does he make it all the way through?”She shrugged. “It’s entirely up to him.”“What do you mean?” He smiled quizzically at her.“Characters talk to you. Transform. Make choices,” she replied.“Choices,” he echoed.“Of who they become.
Get through a draft as quickly as possible. Hard to know the shape of the thing until you have a draft. Literally, when I wrote the last page of my first draft of Lincoln’s Melancholy I thought, Oh, shit, now I get the shape of this. But I had wasted years, literally years, writing and re-writing the first third to first half. The old writer’s rule applies: Have the courage to write badly.
Set fire to cities and nations, to hearts and minds, to the very core of every human spirit. Make sure your words seep into the skin of the reader, leaving trace minerals that sustain the ailing human shell. Make them pay attention. Set fire to the soul. Anything less is an abomination to creation.
I would write:"The soft melting hunk of butter trickled in gold down the stringy grooves of the split yam."Or:"The child's clumsy fingers fumbled in sleep, feeling vainly for the wish of its dream.""The old man huddled in the dark doorway, his bony face lit by the burning yellow in the windows of distant skycrapers."My purpose was to capture a physical state or movement that carried a strong subjective impression, an accomplishment which seemed supremely worth struggling for. If I could fasten the mind of the reader upon words so firmly that he would forget words and be conscious only of his response, I felt that I would be in sight of knowing how to write narrative.
Dialogues must appear as natural as if coming from effortless writing. It must not sweat. Your beloved readers must not sweat. But here am I, literally sweating, because my characters are literally talking dirty in a steamy sweaty and bloody scene.
Don't be afraid to get off the internet, the answers aren't all there. You may have to ask a cop about the kickback from a shotgun, or how sweaty they get in summer wearing body armor. Or what color blood is in the moonlight, or the vibrations through a serrated knife’s handle you feel in your fingers when you are hacking through somebody’s neck and hit cartilage.
The more time you can put between you and your manuscript, the more fresh your eyes become and the more mistakes you’ll catch. Let a chapter rest for a day, you’ll see ways to improve it. Let your completed book rest a month or more and you’ll see stuff that’s long or that you want to skip. Read it out loud to get rid of awkward phrases and listen to your critique partners if they are good.
Humor is so subjective, not everyone is going to get what you are peddling. Others will be offended when what you meant no offense whatsoever. Those are the stakes. You have to be able to stand up for yourself and what you’ve written. Comedy pushes limits, makes people uncomfortable, and is a natural reaction to the environment. Otherwise, as I said, it is forced. Let it flow and give your characters permission to cross a line or two, but only if you can take the heat afterward.
People who want to write books do so because they feel it to be the easiest thing they can do. They can read and write, they can afford any of the instruments of book writing such as pens, paper, computers, tape recorders, and generally by the time they have reached this decision, they have had a simple education.
It's basically an act of faith, hoping that a small idea will unspool into a bigger whole. Sometimes, in fact often, it doesn't and it just runs out of steam. The hope for me is that it will snowball. the best way to put it is that I have no particular method or technique per se, other than this: I plan nothing, I outline nothing, I start with an idea or an image or a line of dialogue and see where it leads me. Because I never know what the next page will contain, let alone the end of the book, I am perpetually surprised by the course that my characters take. The writing process is as full of surprises and twists for me as the reading experience is for my readers. I love the spontaneity of writing this way, the possibilities left open, the feeling that I am not constrained or committed to any given path. Every day, I am surprised by something. It may not be the most efficient way of writing, but it has served me well thus far.
Novels were not arguments; a story worked, or it didn't, on its own merits. What did it matter if a detail was real or imagined? What mattered was that the detail seemed real, and that it was absolutely the best detail for the circumstance. That wasn't much of a theory, but it was all Ruth could truly commit herself to at the moment. It was time to retire that old lecture, and her penance was to endure the compliments of her former credo.
If you are serious, and you want to make a living as an author, then you need to hustle. Period. If you can't make that quality, then you need to concentrate on your craft and practice more. One other thing, quality comes with practice. If you are prolific, then you become a better writer because you are writing. The more you do anything the better at it you will become. So in a way, quantity does add to quality.
It's a terrible mistake to let the perfect get in the way of the good. If you wait to publish until you have written a great book, you will never publish anything. Great books happen by chance, not by design. The wise writer writes the best he can and leaves it to posterity to decide about greatness.
Trying to compose even a single sentence can have the same effect, as we try to juggle grammatical and syntactical alternatives plus all the possibilities of tone, nuance, and rhythm even a simple sentence offers. Composing, then, is a cognitive activity thatconstantly threatens to overload short-term memory.
Q: Do you have any advice for upcoming writers who want to pen weird stories?A: READ, damn it. Fill your brain to the bursting point with the good stuff, starting with writers that you truly enjoy, and then work your way backward and outward, reading those writers who inspired the writers you love best. That was my path as far as Weird/Horror Fiction, starting with Lovecraft, and then working my way backward/outward on the Weird Fiction spiderweb. And don’t limit your reading. Read it all, especially non-fiction and various news outlets. You’d be surprised by how many of my story ideas were born while listening to NPR, perusing a blog, or paging through Vanity Fair.Once you have your fuel squared away, just write what you love, in whatever style and genre. You’ll never have fun being someone you’re not, so be yourself. When a singer opens their mouth, what comes out is what comes out.Also, don’t be afraid to fail, and don’t be afraid to walk away. Writing isn’t for everyone, and that’s totally fine. One doesn’t need to be a writer to enjoy being a reader and overall fan of genre or wider fiction.
I have a hardcore attitude: a “self-published, ghost-written book” is wrong because the concept behind self publishing is that you have knowledge or emotions that you want to express. Whenpeople read a book—particularly a self-published one—they have the right to expect that it’s the person’s writing, not cleaned-up dictation or slapping a name on a book that someone else wrote.
Writing isn't about making money, getting famous, getting dates, getting laid, or making friends. In the end it's about enriching the lives of those who will read your work, and enriching your own life as well. It's about getting up, getting well, and getting over. Getting happy, okay? Getting happy. ...this book...is a permission slip: you can, you should, and if you're brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.
A writer must expect other people to criticize their work and open-mindedly consider all worthwhile suggestions. Martial arts master Bruce Lee advised anyone attempting to master a difficult enterprise to learn from other people but also liberally experiment and judiciously draw from our own well of intelligence and talent. ‘Adapt what is useful, reject what is useless, and add what is specifically your own.
Start telling the stories that only you can tell, because there’ll always be better writers than you and there’ll always be smarter writers than you. There will always be people who are much better at doing this or doing that - but you are the only you.Tarantino - you can criticize everything that Quentin does - but nobody writes Tarantino stuff like Tarantino. He is the best Tarantino writer there is, and that was actually the thing that people responded to - they’re going ‘this is an individual writing with his own point of view’.There are better writers than me out there, there are smarter writers, there are people who can plot better - there are all those kinds of things, but there’s nobody who can write a Neil Gaiman story like I can.
It's a great lesson about not being too precious about your writing. You have to try your hardest to be at the top of your game and improve every joke you can until the last possible second, and then you have to let it go. You can't be that kid standing at the top of the waterslide, overthinking it...You have to let people see what you wrote.
If you want to write, you can. Fear stops most people from writing, not lack of talent, whatever that is. Who am I? What right have I to speak? Who will listen to me if I do? You’re a human being, with a unique story to tell, and you have every right. If you speak with passion, many of us will listen. We need stories to live, all of us. We live by story. Yours enlarges the circle.
Ten good lines out of four hundred, Emily—comparatively good, that is—and all the rest balderdash—balderdash, Emily.""I—suppose so," said Emily faintly.Her eyes brimmed with tears—her lips quivered. She could not help it. Pride was hopelessly submerged in the bitterness of her disappointment. She felt exactly like a candle that somebody had blown out."What are you crying for? demanded Mr. Carpenter.Emily blinked away tears and tried to laugh."I—I'm sorry—you think it's no good—" she said.Mr. Carpenter gave the desk a mighty thump."No good! Didn't I tell you there were ten good lines? Jade, for ten righteous men Sodom had been spared.""Do you mean—that—after all—" The candle was being relighted again."Of course, I mean. If at thirteen you can write ten good lines, at twenty you'll write ten times ten—if the gods are kind. Stop messing over months, though—and don't imagine you're a genius, either, if you have written ten decent lines. I think there's something trying to speak through you—but you'll have to make yourself a fit instrument for it. You've got to work hard and sacrifice—by gad, girl, you've chosen a jealous goddess. And she never lets her votaries go—not even when she shuts her ears forever to their plea.
It's hard for me to believe that people who read very little - or not at all in some cases - should presume to write and expect people to like what they have written. Can I be blunt on this subject? If you don't have time to read, you don't have the time - or the tools - to write. Simple as that.
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.
I'm not asking you to describe the rain falling the night the archangel arrived; I'm demanding that you get me wet. Make up your mind, Mr. Writer, and for once in your life be the flowers that smells rather than the chronicler of the aroma. There's not much pleasure in writing what you live. The challenge is to live what you write.
T.S. Eliot said to me 'There’s only one way a poet can develop his actual writing – apart from self-criticism & continual practice. And that is by reading other poetry aloud – and it doesn’t matter whether he understands it or not (i.e. even if it’s in another language.) What matters above all, is educating the ear.' What matters, is to connect your own voice with an infinite range of verbal cadences & sequences – and only endless actual experience of your ear can store all that in your nervous system. The rest can be left to your life & your character.
Remember...Keystrokes are hammer taps. Get words on paper. Don’t worry about connections, character or plot. Work for an hour. Promise yourself an hour. Do nothing else but move your fingers. Make coarse shapes. Follow any emotion that pops up but never impose emotion, never fake it, and don’t make up your mind or your heart ahead of time. Understand you don’t know what you’re doing. That’s why you’re here. Rough it out. Anything goes. You can decide later what any piece of text looks like, what it might mean. Don’t stop. Don’t question. Don’t quit. Don’t stop to read what you wrote. Move your fingers. You mind will have no other option but to keep up. Remember that writer’s block is merely the cold marble waiting for the chisel to heat up.
The reader tries to uncover the skeleton that the book conceals. The author starts with the skeleton and tries to cover it up. His aim is to conceal the skeleton artistically or, in other words, to put flesh on the bare bones. If he is a good writer, he does not bury a puny skeleton under a mass of fat; on the other hand, neither should the flesh be too thin, so that the bones show through. If the flesh is thick enough, and if the flabbiness is avoided, the joints will be detectable and the motion of the parts will reveal the articulation.
Here’s my advice: you hold in your heart everything you need to know to write anything your story needs written. Dig deep and go where the pain and fear and joy are, and put it out there. The minute you shy away from pure honesty in your writing, you become a liar and people will smell it. People are suckers for the truth and they know it when they see it. Open your soul and they will stop and watch.
In the book (Savvy Stories) you see some very real, very personal moments. The first week of Savvy’s life was the longest week of ours. We spent five days in the NICU (Neonatal Intensive Care Unit) worrying that our newborn daughter might die. It was touch and go for a while, and it was extremely difficult to write about. Chapter two gets a lot of people crying. But because we put that honesty out there, readers said “Okay, I can trust this guy.” Then they were better able to laugh with us, too.
Fresh writing and an original twist on an old idea. As much as this term is hated in the industry, it doesn't make it any less true. High concept. Simply put, you take a universal concept, something that has been done a million times (because everything has been done a million times), and add a fresh twist to it. Something no one saw coming. But mostly fresh writing! Keep it clean, simple, and compelling.
I made a decision long ago not to make any apologies. Romance rocks, and even though my books don't actually fall into the romance genre, I tout them as very much being about the romance. It's fun. We're all obsessed with it. And it's human nature. Remember, NO APOLOGIES! Write what 's in your heart!
writing - like any art - is so damned personal that there really isn't a right way to do it. You do what works for you; what matters is getting the words on the paper. Sure, if you hear advice, and it works, then excellent. But, if it doesn't, you have to realize that perhaps nothing is wrong with you. You don't jive with the advice.
I practiced writing in every possible way that I could. I wrote a pastiche of other people. Just as a pianist runs his scales for ten years before he gives his concert: because when he gives that concert, he can't be thinking of his fingering or of his hands, he has to be thinking of his interpretation. He's thinking of what he's trying to communicate.
Rhythm, repetition, making patterns--these are not only important devices for shaping the strange and abstract instrument/object we call a poem or a story, but they are craved as well because of our primordial need for reassurance, the sense of security we get from moving over the known. A mystery doesn't lose power in revisiting. Writing is not just to know, it is also to console. We need to be reminded that we are part of the obscure rhythm of birth and decade. It is the humming that matters.
At its most basic we are only discussing a learned skill, but do we not agree that sometimes the most basic skills can create things far beyond our expectations? We are talking about tools and carpentry, about words and style...but as we move along, you'd do well to remember that we are also talking about magic.
When it comes to creating compelling fiction, the devil may be in the details, but it is your imagination that ultimately allows your work to spread its wings and take flight. And fly it must. Only by soaring above the clouds of doubt can one truly achieve a suspension of disbelief
On Hayao MiyazakiI told Miyazaki I love the "gratuitous motion" in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are."We have a word for that in Japanese," he said, "It's called ma. Emptiness. It's there intentionally."Is that like the "pillow words" that separate phrases in Japanese poetry? "I don't think it's like the "pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it's just busyness, but if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.
The only way you'll find out if you "have it in you" is to get to work and see if you do. The only way to override your "limitations, insecurities, jealousies, and ineptitude" is to produce. You have limitations. You are in some way inept. This is true of every writer, and it's especially true of writers who are twenty-six. You will feel insecure and jealous. How much power you give those feelings is entirely up to you.
I’ve had situations when I’ve actually encouraged authors to self-publish because their book was poor. Now one would conclude that I’m asking them to self-publish because their book was poor and the self-publishing warehouse is where all the poor books belong. But no, it’s because “poor” is only my opinion, and I’m just one in millions of readers.
Q: What do you think is magical about fiction?DFW: ... The first line of attack for that question is that there is this existential loneliness in the real world. I don't know what you're thinking or what it's like inside you and you don't know what it's like inside me. In fiction I think we can leap over that wall itself in a certain way... There's another level... A really great piece of fiction for me may or may not take me away and make me forget that I'm sitting in a chair. There's real commercial stuff can do that, and a riveting plot can do that, but it doesn't make me feel less lonely... There's a kind of Ah-ha! Somebody at least for a moment feels about something or sees something the way that I do. It doesn't happen all the time. It's these brief flashes or flames, but I get that sometimes. I feel unalone--intellectually, emotionally, spiritually. I feel human and unalone and that I'm in a deep, significant conversation with another consciousness in fiction and poetry in a way that I don't with other art.
There is a muse, but he’s not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer station. He lives in the ground. He’s a basement guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you.
Aspiring authors, get this through your head. Cover art serves one purpose, and one purpose only, to get potential customers interested long enough to pick up the book to read the back cover blurb. In the internet age that means the thumb nail image needs to be interesting enough to click on. That’s what covers are for.
Why is it that women are the only ones who will write perfect men into fiction? It's strange. If a man portrayed his fictional men as archangels, the feminists would throw back their heads and howl, "UNFAIR!" but we women will create our own Mr. Darcy's and Mr. Knightley's and defy anyone who would point out their unrealistic points. The men aren't the ones crazy about Pride and Prejudice. Obviously they don't find perfect men realistic and honest enough to bother reading about. We don't write perfect women characters, do we? No. Our women all have bad tempers, or resentful hearts, or scabby pasts, or hidden fears--things that make them real. It's because we're easy on ourselves and aren't trying to boast perfection because we know we don't measure up. Then why do we hold men to a different standard?..... I'd caution all writers to make sure that your male "hero" in your story has his own flaws. You don't want a one-dimensional character. You don't want a perfect man that will drive away other men from reading the book.Look to the men in your life. The men around you. Look to your brothers and fathers and pastors and neighbors. Your uncles and the guy down the street. Goodness--look to Taylor the Latte Boy if you must, but let's cast aside the Perfect-Man syndrome.
We’re at this really unique time, I think, in trans representation in popular culture where homelessness, depression, mental health issues, instability-in-general are still so very real and need to be talked about, but we’re aware that they’ve dominated “trans” stories for years and years. And we’re now finally at a place where we’re seeing some really positive representations of trans folks in pop culture, and there’s this new pressure -- at least, I feel it, within trans and trans-ally communities -- to only focus on the positive. Because we’re trying, in some sense, to overcompensate for the years and years of too much negativity. As a writer, you might feel a pressure to push the negative stuff away. But there are consequences for that too. Anyone who’s working with trans characters right now is going to have to reconcile that tension.
Too often we sit back and speak platitudes of the nitty-gritty bits of writing; the editing, the story structure, the verbal sparring vs. banter, the character development, the world-building become more important to us than the tune rhythm of the tale. And when you lose the music of the story, all the footwork in the world is not going to make up for the loss of continuity and heart. We need to take a step back in our souls and conjure the image of what this story is: the notes and beats and things woven into it's fullness. See, that's what is so easy to lose sight of as we write. We forget that, in a way, this story is a full story in itself. We tend to try to build the story piece by piece, line upon line, precept upon precept, but that--as any true writer knows--is not entirely practical. A story does have its own identity. To some extent, the story exists in your mind as a whole. Its own being. To chance sounding sappy: Your story is a full piece of music waiting for you to dance it into existence. Don't make the mistake of leaving out all the music. It is tempting to want to have everything arranged to perfection so that little editing will be done. But if you are keeping in mind the way your story needs to run--feeling it and dwelling in the beauty of its passion and color and vibe--the footwork will take care of itself. Certainly it will require practice and your technicalities will need a little work--everyone's does. But you will have captured the essence and blood of the tale, and really that's the prettiest part of a dance.
Modern writing at its worst does not consist in picking out words for the sake of their meaning and inventing images in order to make the meaning clearer. It consists in gumming together long strips of words which have already been set in order by someone else, and making the results presentable by sheer humbug. The attraction of this way of writing is that it is easy. It is easier -- even quicker, once you have the habit -- to say In my opinion it is not an unjustifiable assumption that than to say I think.
If the passage absolutely demands cursing, be moderate. A little of it goes a long way. I've seen beginning writers pepper curse words through sentence after sentence.'If you don't -blanking- get your -blanking-blank-blank- in to this house this -blanking- minute, I'm going to -blank- your -blank- and nail it to the -blanking- door.'Two things happen when I read this junk: I get bored and I get angry. I didn't pick up your book to read garbage. If this is as clever as you can be, I don't want to read your prose. In life if you met someone who spoke like this, you'd want to flee. Then why put this stuff on the page?As near as I can determine, this abomination occurs because a writer is corrupted by the awful -blanking- dialog that movies inflict on us these days. It's also a sign of insecurity. The writer wonders if the dialog is strong enough and decides a lot of -blanking-blank- will do the trick.Someone might object that this kind of dialog is realistic in certain situations--intense scenes involving policemen or soldiers for example. I can only reply that in my research I spend considerable time with policemen and soldiers. Few of them curse any more than a normal person would. This garbage isn't realistic. It merely draws attention to itself and holds back the story. Use it sparingly.
Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material…..
We should be told: Write fast, write close to the bone, write for ten hours straight until you’re not thinking in words anymore, but in colors, in smells, in waves of memory. Right what you care about. Don’t write one more word you don’t care about. Don’t waste any more of your life on what does not matter to you. Write only what matters to you—those scenes, those dialogues. Get messy. Before you get neat, get very, very messy. Write until you are more alive than you have ever been before.
Step back and scrutinize your work, to delve deep into the meaning behind the words, it will get both easier in some ways and harder in others. Either way, you need to practice everyday. You will probably get faster with time, because you learn to do this instinctively, and the writing may flow better on some days more than others, but it doesn’t get easier. And if you aren’t writing everyday, you are doing yourself and your craft a disservice. Writing is a habit. Get into the habit.
Know something about the world, and by this I mean the world outside of books. This might require joining the Marines, or working on an oil rig or as a hash slinger at a truck stop in Kentucky. Know what it smells like out there. If everything you write smells like a library, then your prospective audience will be limited to those who like the smell of libraries.
Let us not neglect the forbidden. Let us not sophisticate ourselves out of the cheap thrill and chill of it: the story told for perversity's sake, and all the better for that; the image created because an artist gets tired of reasons sometimes, and wants to dredge up some picture he's been haunted by, and parade it like a new tattoo. I go with it, readily.
Maybe those sailors will write bad poems, but the same men would have kept dull diaries, too. The problem has to do not with the evidence but with the witness. The point is not the adventure but the adventurer. Reality cannot be directly rendered. Reality is a pile of bricks that can assume many forms.
It is only when you open your veins and bleed onto the page a little that you establish contact with your reader. If you do not believe in the characters or the story you are doing at that moment with all your mind, strength, and will, if you don't feel joy and excitement while writing it, then you're wasting good white paper, even if it sells, because there are other ways in which a writer can bring in the rent money besides writing bad or phony stories.
Avoid stock expressions (like the plague, as William Safire used to say) and repetitions. Don't say that as a boy your grandmother used to read to you, unless at that stage of her life she really was a boy, in which case you have probably thrown away a better intro. If something is worth hearing or listening to, it's very probably worth reading. So, this above all: Find your own voice.
I honestly think in order to be a writer, you have to learn to be reverent. If not, why are you writing? Why are you here? Let's think of reverence as awe, as presence in and openness to the world. The alternative is that we stultify, we shut down. Think of those times when you've read prose or poetry that is presented in such a way that you have a fleeting sense of being startled by beauty or insight, by a glimpse into someone's soul. All of a sudden everything seems to fit together or at least to have some meaning for a moment. This is our goal as writers, I think; to help others have this sense of -- please forgive me -- wonder, of seeing things anew, things that can catch us off guard, that break in on our small, bordered worlds.
Personally, I am always more impressed by simplicity, clarity; it is the mark of a writer who knows his subject well and is secure enough not to 'lay it on' in the telling. Aim for complexity of thought, not expression.
Writing is a muscle. Smaller than a hamstring and slightly bigger than a bicep, and it needs to be exercised to get stronger. Think of your words as reps, your paragraphs as sets, your pages as daily workouts. Think of your laptop as a machine like the one at the gym where you open and close your inner thighs in front of everyone, exposing both your insecurities and your genitals. Because that is what writing is all about.
I have an idea and a first line -- and that suggests the rest of it. I have little concept of what I’m going to say, or where it’s going. I have some idea of how long it’s going to be -- but not what will happen or what the themes will be. That’s the intrigue of doing it -- it’s a process of discovery. You get to discover what you’re going to say and what it’s going to mean.
You cherry-pick events that are relevant to the story question and construct a gauntlet of challenge (read: the plot) that will force the protagonist to put his money where his mouth is. Think baptism by ever-escalating fire.
Problem, purpose, conflict, goal. Use them. Think about them while you are in the planning phase of your novel; keep these elements at the back of your mind to guide you while you write. When you have written a scene, make sure they are all there, or that if one or another is missing, it is intentional and the effect is what you want.
You can’t just come out and say what you have to say. That’s what people do on airplanes, when a man plops down next to you in the aisle seat of your flight to New York, spills peanuts all over the place (back when the cheapskate airlines at least gave you peanuts), and tells you about what his boss did to him the day before. You know how your eyes glaze over when you hear a story like that? That’s because of the way he’s telling his story. You need a good way to tell your story.
Your story is not a picture of life; it lacks the elements of truth. And why? Simply because you run straight on to the end; because you do not analyze. Your heroes do this thing or that from this or that motive, which you assign without ever a thought of dissecting their mental and moral natures. Our feelings, you must remember, are far more complex than all that. In real life every act is theresultant of a hundred thoughts that come and go, and theseyou must study, each by itself, if you would create a livingcharacter. 'But,' you will say, 'in order to note these fleetingthoughts one must know them, must be able to follow them in their capricious meanderings.You have simply to make use of hypnotism, electrical or human, which gives one a two-fold being, setting free the witness-personality so that it may see, understand, and remember the reasons which determine the personality that acts.
. . . But then you will want to put that {publication} behind you right away. You will want to recover the obscurity you swim best through. You've got eternal youth there. You'll never be satisfied. If you get lucky, it will be a darkness so pure it will mirror not the 'self,' but the mysterious 'other.
Make your heroes ambitious, always looking for more success and uniqueness.To write the best story you can, think of making your hero, or heroes, have an ambitious for an unlimited success.-How to write the best story-
Choose noble goals for your heroes.Make them Sympathize with the poor, collaborates on the good goals, always step forward for the good actions, the first ones to do the right things, care to reserve others rights, and respect the laws, traditions and values.
Don’t wait. Writers are the only artists I know of who expect to get somewhere by waiting. Everyone knows you have to dance to be a dancer, you have to sing to be a singer, you have to act to be an actor, but far too many people seem to believe that you. don’t have to write to be a writer. So, instead of writing, they wait. Isaac Asimov said it beautifully in just six words: “It’s the writing that teaches you.” Writing is what teaches you. Writing is what leads to “inspiration.” Writing is what generates ideas. Nothing else-and nothing less. Don’t meditate, don’t do yoga, don’t do drugs. Just write.
According to Wallace, the expectation that art amuses is a 'poisonous lesson for a would-be artist to grow up with,' since it places all of the power with the audience, sometimes breeding resentment on the part of the author. 'I can see it in myself and in other young writers,' he told McCaffery: 'this desperate desire to please coupled with a kind of hostility to the reader.' Wallace expressed his 'hostility' by writing unwieldy sentences, refusing to fulfill readers' expectations, and 'bludgeoning the reader with data'--all strategies he used to wrestle back some of the power held by modern audiences.
Because as any writer will tell you, an IDEA for a book is like falling in love, it’s all wild emotion and headlong rush, but the ACTUAL ACT of writing a book is like building a relationship: it is joyous, slow, fragile, frustrating, exhilarating, painstaking, exhausting, worth it.
An author needs a lot more than one person to succumb to his literary seductive charms, but, like Saul, he must realize that he doesn't have to--and indeed cannot--capture the hearts of every possible reader out there. No matter who the writer, his ideal intended audience is only a small faction of all the living readers. Name the most widely read authors you can think of--from Shakespeare, Austen, and Dickens to Robert Waller, Stephen King, and J.K. Rowling--and the immense majority of book-buyers out there actively decline to read them.
The beautiful unruliness of literature is what makes it so much fun to wander through: you read Jane Austen and you say, oh, that is IT. And then you turn around and read Sterne, and you say, Man, that is IT. And then you wander across a century or so, and you run into Kafka, or Calvino, or Cortazar, and you say, well that is IT. And then you stroll through what Updike called the grottos of Ulysses, and after that you consort with Baldwin or Welty or Spencer, or Morrison, or Bellow or Fitzgerald and then back to W. Shakespeare, Esq; the champ, and all the time you feel the excitement of being in the presence of IT. And when you yourself spend the good time writing, you are not different in kind than any of these people, you are part of that miracle of human invention. So get to work. Get on with IT, no matter how difficult IT is. Every single gesture, every single stumble, every single uninspired-feeling hour, is worth IT." Richard Bausch