Allow Yourself to Write Poorly

First, you get the idea. It may germinate for a long time or it just pops into your head. And then you work out a structure. And when you feel confident enough, you start to write. And you have to allow yourself the liberty of writing poorly. You have to get the bulk of it done, and then you start to refine it. You have to put down less than marvelous material just to keep going to whatever you think the end is going to be—which may be something else altogether by the time you get there.

LARRY GELBART

Writing Is Lucky Work

I have never liked to suggest that writing is grinding, let alone brave work. H. L. Mencken used to say that any scribbler who found writing too arduous ought to take a week off to work on an assembly line, where he will discover what work is really like. The old boy, as they say, got that right. To be able to sit home and put words together in what one hopes are charming or otherwise striking sentences is, no matter how much tussle may be involved, lucky work, a privileged job. The only true grit connected with it ought to arrive when, thinking to complain about how hard it is to write, one is smart enough to shut up and silently grit one’s teeth.

JOSEPH EPSTEIN

Do Not Sit and Mope

Now you may ask, what if my characters won't talk to me? What if they won't even visit? The only answer is to think and think some more, and then go out and read and look and listen some more. Do not sit and mope. Do not sigh. Do not throw up your hands and give up on the whole project. Do not go back to the drawing board. There is nothing more depressing than an empty drawing board. No, go back to the world, which is where all characters originally come from.

ALLEGRA GOODMAN

Think Like A Writer

You can teach almost anyone determined to learn them the basics required to write sentences and paragraphs that say what you want them to say clearly and concisely. It's far more difficult to get people to think like a writer, to give up conventional habits of mind and emotion. You must be able to step inside your character's skin and at the same time to remain outside the dicey circumstances you have maneuvered her into. I can't remember how many times I advised students to stop writing the sunny hours and write from where it hurts: "No one wants to read polite. It puts them to sleep."

ANNE BERNAYS

The Three Elements of A Story

There are three necessary elements in a story—exposition, development, and drama. Exposition we may illustrate as “John Fortescue was a solicitor in the little town of X”; development as “One day Mrs. Fortescue told him she was about to leave him for another man”; and drama as “You will do nothing of the kind,” he said.

FRANK O’CONNOR

Beware of the Metaphor

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

SHERIDAN BAKER