The Difference Between Fact and Fiction

The world that fiction comes from is fragile. It melts into insignificance against the universe of what is clear and visible and known. It persists because it is based on the power of cadence and rhythm in language and these are mysterious and hard to defeat and keep in their place. The difference between fact and fiction is like the difference between land and water.

COLM TÓIBÍN

Rejection

To be a writer is to embrace rejection as a way of life.

DANA STABENOW

 

Failure is part of it. You will be rejected dozens and dozens of times. The best way to prepare for it is to have something else in the works by the time the rejection letter arrives. Invest your hope in the next project. Learning to cope with rejection is a good trait to develop.

PO BRONSON

 

You have to know how to accept rejection and reject acceptance.

RAY BRADBURY

 

This manuscript of yours that has just come back from another editor is a precious package. Don’t consider it rejected. Consider that you’ve addressed it “to the editor who can appreciate my work” and it has simply come back stamped “Not at this address.” Just keep looking for the right address.

BARBARA KINGSOLVER

 

I love my rejection slips. They show me I try.

SYLVIA PLATH

 

I discovered that rejections are not altogether a bad thing. They teach a writer to rely on his own judgment and to say in his heart of hearts, “To hell with you.”

SAUL BELLOW

 

Work like hell! I had 122 rejection slips before I sold a story.

F. SCOTT FITZGERALD

 

Every rejection is incremental payment on your dues that in some way will be translated back into your work.

JAMES LEE BURKE

 

Rejection slips, or form letters, however tactfully phrased, are lacerations of the soul, if not quite inventions of the devil — but there is no way around them.

ISAAC ASIMOV


The great American novel has not only already been written, it has already been rejected.

SOMERSET MAUGHAM

 

Vonnegut's Rules for the Short Story

1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.

2. Give the reader at least one character he or she can root for.

3. Every character should want something, even if it is only a glass of water.

4. Every sentence must do one of two things–reveal character or advance the action.

5. Start as close to the end as possible.

6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them–in order that the reader may see what they are made of.

7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.

8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

This Is Sacred Work

Figuring out what the public wants, or even what the public is: that's the job of pollsters and publicists and advertisers. All those people study the marketplace. But the creative artist can change the world. A true writer opens people's ears and eyes, not merely playing to the public, but changing minds and lives. This is sacred work.

ALLEGRA GOODMAN

An Intimate Letter to a Stranger

The less conscious one is of being “a writer,” the better the writing. And though reading is the best school of writing, school is the worst place for reading. Writing should ... be as spontaneous and urgent as a letter to a lover, or a message to a friend who has just lost a parent ... and writing is, in the end, that oddest of anomalies: an intimate letter to a stranger.

PICO IYER