All Writers Are Mystery Writers

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All writers are mystery writers. We may not employ detectives in our work, but as seekers of guilty parties, we can identify with Nick Charles, Sam Spade, Lew Archer, Miss Marple and the rest. Like them, we muck about in a world studded with clues, neck-deep in motives. Like them, we falter in our investigations and follow wrong leads. We are foolhardy, preposterous, nosy, irritating. No one wants us around. We work alone, yet like Sam Spade, we operate within a tradition of our own, of which we are respectfully aware. Write and you are in the company of all who have written before you. Only when we have finished a piece of work do we know true shamus loneliness, realizing that the chase is over and that no one has been watching us but us.

ROGER ROSENBLATT

Beware of Writers Who Tell You How Hard They Work

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Beware of writers who tell you how hard they work. (Beware of anybody who tries to tell you that.) Writing is indeed often dark and lonely, but no one really has to do it. Yes, writing can be complicated, exhausting, isolating, abstracting, boring, dulling, briefly exhilarating; it can be made to be grueling and demoralizing. And occasionally it can produce rewards. But it's never as hard as, say, piloting an L-1011 into O'Hare on a snowy night in January, or doing brain surgery when you have to stand up for 10 hours straight, and once you start you can't just stop. If you're a writer, you can stop anywhere, any time, and no one will care or ever know. Plus, the results might be better if you do.

RICHARD FORD

Every Writer Is A Thief

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I have myself always been terrified of plagiarism—of being accused of it, that is. Every writer is a thief, though some of us are more clever than others at disguising our robberies. The reason writers are such slow readers is that we are ceaselessly searching for things we can steal and then pass off as our own: a natty bit of syntax, a seamless transition, a metaphor that jumps to its target like an arrow shot from an aluminum crossbow.

JOSEPH EPSTEIN

Cut Like Crazy

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Cut like crazy. Less is more. I've often read manuscripts–including my own–where I've got to the beginning of, say, chapter two and have thought: "This is where the novel should actually start." A huge amount of information about character and backstory can be conveyed through small detail. The emotional attachment you feel to a scene or a chapter will fade as you move on to other stories. Be business-like about it.

SARAH WATERS