Style Is A Relation Between Form and Content

Style is a relation between form and content. Where the content is less than the form, where the author pretends to emotion which he does not feel, the language will seem flamboyant. The more ignorant a writer feels, the more artificial becomes his style. A writer who thinks himself cleverer than his readers writes simply, one who is afraid they are cleverer than he, will make use of mystification: good style is arrived at when the chosen represents what the author requires of it without mystification.

CYRIL CONNOLLY

Most Writers Write Too Much

Most writers write too much. Some writers write way too much, gauged by the quality of their accumulated oeuvre. I've never thought of myself as a man driven to write. I simply choose to do it, often when I can't be persuaded to do anything else; or when a dank feeling of uselessness comes over me, and I'm at a loss and have some time on my hands, such as when the World Series is over.

RICHARD FORD

Invent Your Confidence

The best advice on writing I ever received was: Invent your confidence. When you're trying something new, insecurity and stage fright come with the territory. Many wonderful writers (and other artists) have been plagued by insecurity throughout their professional lives. How could it be otherwise? By its nature, art involves risk. It's not easy, but sometimes one has to invent one's confidence.

DIANE ACKERMAN

Sequential Causality

Sequential causality is generally considered to be very important in plotting. It is often thought to be the difference between a simple story, which just presents events as arranged in their time sequence, and a true plot, in which one scene prepares for and leads into and causes the scene that comes after it.

RUST HILLS

Don't Tell Anybody What Your Book Is About

Don’t tell anybody what your book is about and don’t show it until it’s finished. It’s not that anybody will steal your idea but that all the energy that goes into the writing of your story will be dissipated.

DAVID WALLECHINSKY

What Could Be Stranger Than Writing?

People like ourselves may see nothing wondrous in writing, but our anthropologists know how strange and magical it appears to a purely oral people—a conversation with no one and yet with everyone. What could be stranger than the silence one encounters when addressing a question to a text? What could be more metaphysically puzzling than addressing an unseen audience, as every writer of books must do? And correcting oneself because one knows that an unknown reader will disapprove or misunderstand?

NEIL POSTMAN

Screenplays Are Structure

Screenplays are structure, and that’s all they are. The quality of writing—which is crucial in almost every other form of literature—is not what makes a screenplay work. Structure isn’t anything else but telling the story, starting as late as possible, starting each scene as late as possible. You don’t want to begin with “Once upon a time,” because the audience gets antsy.

WILLIAM GOLDMAN

Think of the Writing in Terms of Discovery

Write without thinking of the result in terms of a result, but think of the writing in terms of discovery, which is to say that creation must take place between the pen and the paper, not before in a thought or afterwards in a recasting. It will come if it is there and if you will let it come.

GERTRUDE STEIN

The Writer Ought to Help the Reader

I think the writer ought to help the reader as much as he can without damaging what he wants to say; and I don’t think it ever hurts the writer to sort of stand back now and then and look at his stuff as if he were reading it instead of writing it.

JAMES JONES

Self-Doubt is the Best Friend and the Worst Enemy of the Writer

Self-doubt is the best friend and the worst enemy of the writer. Because being a writer isn’t like being a tennis player or a boxer, where you presumably have to hunt down and ruthlessly eliminate the source of any flickering shadow of suspicion that you might not be destined for victory. As a writer, you have to take your own misgivings seriously; you have to attend, now and then, to the little voice in your head or the booming baritone in your gut that wishes you to know that what you are writing is entirely without value. The trick, of course, is to know when to listen to it and when to tell it to shut its stupid fat face.

MARK O’CONNELL