Read Bad Stuff

If you are going to learn from other writers don’t only read the great ones, because if you do that you’ll get so filled with despair and the fear that you’ll never be able to do anywhere near as well as they did that you’ll stop writing. I recommend that you read a lot of bad stuff, too. It’s very encouraging. “Hey, I can do so much better than this.” Read the greatest stuff but read the stuff that isn’t so great, too. Great stuff is very discouraging.

EDWARD ALBEE

Don't Think Too Much About the Publishing World

I don't think it's a good idea for writers to think too much about the publishing world. I sense in a good many books, even in books by the best writers, an anxiety about how it will do in the marketplace. You can feel it on the page, a sort of sweat of calculation.

ELIZABETH HARDWICK

Try To Make Editors Tell You What They Want

Try to make them tell you what they really want. Most often they recognize what they don’t want, but have a much harder time explaining what it is you’re supposed to give them. Make them tell!

MAUREEN ORTH

Books Must Be Written, Not Talked

In a longish life as a professional writer, I have heard a thousand masterpieces talked out over bars, restaurant tables and love seats. I have never seen one of them in print. Books must be written, not talked.

MORRIS L. WEST

Leave Something Behind

It is the deepest desire of every writer, the one we never admit or even dare to speak of: to write a book we can leave as a legacy. And although it is sometimes easy to forget, wanting to be a writer is not about reviews or advances or how many copies are printed or sold. It is much simpler than that, and much more passionate. If you do it right, and if they publish it, you may actually leave something behind that can last forever.

ALICE HOFFMAN

Write What Scares You

Everyone tells you to write what you know. It’s the tried-and-true advice every writer hears at some point in her career. But to take my writing to a deeper level, I’ve found that a better practice is to simply write what frightens you, haunts you, even. ... I now keep a sign on the bulletin board in my office that reads: “Write What Scares You.” I’ve learned that tapping into the hard stuff — whether it’s the fear of loss or a boogeyman lurking in childhood memories — is what ultimately gives a story the power to leap off the page and grab you by the collar.

SARAH JIO

A Good Style Comes From Lack of Pretentiousness

A good style comes primarily from lack of pretentiousness, and what is pretentious changes from year to year from day to day from minute to minute. We must be ever more careful. A man does not get old because he nears death; a man gets old because he can no longer see the false from the good.

CHARLES BUKOWSKI

Stories Must Have Life at the End

Life goes on, and for the sake of verisimilitude and realism, you cannot possibly give the impression of an ending: you must let something hang. A cheap interpretation of that would be to say that you must always leave a chance for a sequel. People die, love dies, but life does not die, and so long as people live, stories must have life at the end.

JOHN O’HARA

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

In Defense of the Adjective

I beg the privilege of demurring for a few moments against a high-flown disdain for the adjective. We’ve been cautioned by such proven masters as Ernest Hemingway, Clifton Fadiman and Mark Twain, to avoid the adjective as though it were a contagious disease. Here’s Fadiman:

“The adjective is the banana peel of the parts of speech.”

Mark Twain: “As to the adjective, when in doubt, strike it out.”

Hemingway: “If an adjective happens, kill it.”

All of which seems to me a bum rap against the language enjoyed worldwide by people who use a homely but sturdy adjective every day, billions of us: “good morning, good afternoon, good evening, good night" in all the languages of our polyglot world; and, by way of reinforcement, most of us rely on convenient adjectives such as “passable, great, terrific” or “lousy.” Not to speak of the bonhomie generated worldwide around Christmas; and by the pleasant modifier in happy New Year.

NORMAN CORWIN