You Don't Always Have to Murder Your Darlings

You don't always have to go so far as to murder your darlings—those turns of phrase or images of which you felt extra proud when they appeared on the page – but go back and look at them with a very beady eye. Almost always it turns out that they'd be better dead. (Not every little twinge of satisfaction is suspect—it's the ones which amount to a sort of smug glee you must watch out for.)

DIANA ATHILL

You Don't Get a Pension Plan

You most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there's no free lunch. Writing is work. It's also gambling. You don't get a pension plan. Other people can help you a bit, but ­essentially you're on your own. Nobody is making you do this: you chose it, so don't whine.

MARGARET ATWOOD

Story is a Character for Whom We Care

The core of every good story is a character for whom we care—and not just care a little, but care deeply. This alone is no easy task: Such a character must be likable, but not annoying. He must have virtues but remain imperfect. She must possess the potential for sacrifice, for selflessness, for selfishness, for evil. He may be funny, but not only that. She may be serious, but not only that. He comprises many dimensions but not so many that he seems unreal or unpindownable.

CHUCK WENDIG

The Artist Must Raise Everything to a Higher Level

The artist must raise everything to a higher level: he is like a pump; inside him is a great pipe reaching down into the bowels of things, the deepest layers. He sucks up what was pooled beneath the surface and brings it forth into the sunlight in giant sprays.

GUSTAVE FLAUBERT

T.S. Eliot's Advice to a Young Writer

Then it was four o'clock, or nearly; it was time for Eliot to conclude our interview, and take tea with his colleagues. He stood up, slowly enough to give me time to stand upright before he did, granting me the face of knowing when to leave. When this tall, pale, dark-suited figure struggled successfully to its feet, and I had leapt to mine, we lingered a moment in the doorway, while I sputtered ponderous thanks, and he nodded smiling to acknowledge them. Then Eliot appeared to search for the right phrase with which to send me off. He looked at me in the eyes, and set off into a slow, meandering sentence. "Let me see, said T. S. Eliot, "forty years ago I went from Harvard to Oxford. Now you are going from Harvard to Oxford. What advice can I give you?" He paused delicately, shrewdly, while I waited with greed for the words which I would repeat for the rest of my life, the advice from elder to younger, setting me on the road of emulation. When he had ticked off the comedian's exact milli­seconds of pause, he said, "Have you any long underwear?"

DONALD HALL

Dialogue in Fiction

Dialogue in fiction should be reserved for the culminating moments and regarded as the spray into which the great wave of narrative breaks in curving toward the watcher on the shore.

EDITH WHARTON

Find Your Optimum Hours for Writing

My most important discovery has been that I have optimum hours for writing. These are between 10:00 a.m. and 2:00 p.m. For a lifetime I’ve told myself that I was a nighttime writer—it seemed romantic. But actually I’m tired at night, and that’s when I prefer to read and research. Whatever your optimum hours are, don’t cheat yourself of them. This is a daily battle. If you spend them answering the phone, attending to correspondence, etc., you’ll find yourself empty-handed and out of sorts during your low tide.

AMY WALLACE

Never Bring a Tame in Union with a Savage Thing

Good writing obeys the dictum of Horace: “Remember always never to bring a tame in union with a savage thing.”—meaning, among other things, don’t distract a mystery reader with a romantic subplot.

FLORENCE KING

By the End, You Should Be Inside Your Character

By the end, you should be inside your character, actually operating from within somebody else, and knowing him pretty well, as that person knows himself or herself. You’re sort of a predator, an invader of people.

WILLIAM TREVOR

We Have to Accept Ourselves in Order to Write

We have to accept ourselves in order to write. Now none of us does that fully: few of us do it even halfway. Don’t wait for one hundred percent acceptance of yourself before you write, or even eight percent acceptance. Just write. The process of writing is an activity that teaches us about acceptance.

NATALIE GOLDBERG