Beware of Writers Who Tell You How Hard They Work

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Beware of writers who tell you how hard they work. (Beware of anybody who tries to tell you that.) Writing is indeed often dark and lonely, but no one really has to do it. Yes, writing can be complicated, exhausting, isolating, abstracting, boring, dulling, briefly exhilarating; it can be made to be grueling and demoralizing. And occasionally it can produce rewards. But it's never as hard as, say, piloting an L-1011 into O'Hare on a snowy night in January, or doing brain surgery when you have to stand up for 10 hours straight, and once you start you can't just stop. If you're a writer, you can stop anywhere, any time, and no one will care or ever know. Plus, the results might be better if you do.

RICHARD FORD

Treat Writing As A Job

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Treat writing as a job. Be disciplined. Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail. My minimum is 1,000 words a day – which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I've got there, because I know that by doing that I am inching the book forward. Those 1,000 words might well be rubbish–they often are. But then, it is always easier to return to rubbish words at a later date and make them better.

SARAH WATERS

Beware of Clichés

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Beware of clichés. Not just the clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought–even of conception. Many novels, even quite a few adequately written ones, are clichés of form which conform to clichés of expectation.

GEOFF DYER

An Artist Should Lead A Questing Life

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It's a cliché, certainly, to say an artist or a writer should lead a questing life. It's less often acknowledged, however, that in pursuing such a quest, a person frequently leaves behind a trail of at least minor injustices. I believe an artist has to remind herself or himself, in other words, that when you write or paint or compose music, you draw in mysterious ways on the courtesy and genius of the community. It is this sensitivity to gifts welling up unbidden, this awareness of the fate of the community, no matter how ego-driven or self-absorbed a writer or artist might become, and no matter how singular the work, that divides art from commerce.

BARRY LOPEZ

The Writing Habit

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In writing, habit seems to be a much stronger force than either willpower or inspiration. Consequently there must be some little quality of fierceness until the habit pattern of a certain number of words is established. There is no possibility, in me at least, of saying, “I’ll do it if I feel like it.” One never feels like awaking day after day. In fact, given the smallest excuse, one will not work at all. The rest is nonsense. Perhaps there are people who can work that way, but I cannot. I must get my words down every day whether they are any good or not.

JOHN STEINBECK

Becoming A Writer Is About Becoming Conscious

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Becoming a writer is about becoming conscious. When you're conscious and writing from a place of insight and simplicity and real caring about the truth, you have the ability to throw the lights on for your reader. He or she will recognize his or her life and truth in what you say, in the pictures you have painted, and this decreases the terrible sense of isolation that we have all had too much of.

ANNE LAMOTT

Good Work Only Comes Through Revision

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After a lifetime of hounding authors for advice, I’ve heard three truths from every mouth: (1) Writing is painful—it’s “fun” only for novices, the very young, and hacks; (2) other than a few instances of luck, good work only comes through revision; (3) the best revisers often have reading habits that stretch back before the current age, which lends them a sense of history and raises their standards for quality.

MARY KARR