The rules seem to be these: if you have written a successful novel, everyone invites you to write short stories. If you have written some good short stories, everyone wants you to write a novel. But nobody wants anything until you have already proved yourself by being published somewhere else.
JAMES MICHENER
If you want your reader to understand something about a given character, his habits of intellection and control of his emotions, show the reader what the character thinks about, and then the reader will think about it too.
GEORGE V. HIGGINS
Thirty years ago my older brother, who was ten years old at the time, was trying to get a report on birds written 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 on 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.”
ANNE LAMOTT
I might write four lines or I might write twenty. I subtract and I add until I really hit something I want to do. You don’t always whittle down, sometimes you whittle up.
GRACE PALEY
Find what gave you emotion; what the action was that gave you excitement. Then write it down making it clear so that the reader can see it too. Prose is architecture, not interior decoration, and the Baroque is over.
ERNEST HEMINGWAY
Short paragraphs put air around what you write and make it look inviting, whereas one long chunk of type can discourage the reader from even starting to read.
WILLIAM ZINSSER
The author of the style-book of the Oxford University Press of New York (quoted in Perrin’s Writer’s Guide) says “If you take hyphens seriously you will surely go mad.” You should not take hyphens seriously.
SIR ERNEST GOWERS
1. Dialogue should be brief.
2. It should add to the reader’s present knowledge.
3. It should eliminate the routine exchanges of ordinary conversation.
4. It should convey a sense of spontaneity but eliminate the repetitiveness of real talk.
5. It should keep the story moving forward.
6. It should be revelatory of the speaker’s character, both directly and indirectly.
7. It should show the relationships among people.
ELIZABETH BOWEN
Read, read, read. Read everything—trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write. If it is good, you’ll find out. If it’s not, throw it out the window.
WILLIAM FAULKNER
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
Writerly wisdom of the ages collected by the author of Advice To Writers, The Big Book of Irony, and The Portable Curmudgeon.
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