Publishers want to take chances on books that will draw a clamor and some legitimate publicity. They want to publish controversial books. That their reasons are mercenary and yours may be lofty should not deter you.
HARLAN ELLISON
Anyone who puts pen to paper can have a prose style. In almost every case, that style will be quiet, sometimes so quiet as to be detectable only by you, the writer. In the quiet, you can listen to your sound in various manifestations; then you can start to shape it and develop it. That project can last as long as you keep writing, and it never gets old.
BEN YAGODA
Next to the defeated politician, the writer is the most vocal and inventive griper on earth. He sees hardship and unfairness wherever he looks. His agent doesn’t love him (enough). The blank sheet of paper is an enemy. The publisher is a cheapskate. The critic is a philistine. The public doesn’t understand him. His wife doesn’t understand him. The bartender doesn’t understand him.
PETER MAYLE
Work every day. Obviously I don’t mean every day. Hyperbole, it’s what we do for a living. So let me clarify and tell you what I really mean: Work every day.
STEPHEN HUNTER
One of the things I’ve never experienced when writing is flow, that experience of being totally immersed in the process. The gradient changes, but it is always an uphill struggle: awkward first drafts; repeated editing; the depressingly regular deletion of entire stories. The view at the top is sometimes glorious, but the climb is always a long one. As I often say to students, “If you’re having fun, it’s probably not working.”
MARK HADDON
1. DO — WRITE A PAGE EVERY DAY
That’s about 200 words, or 1,000 words a week. Do that for two years and you’ll have a novel that’s long enough.
Nothing will happen until you are producing at least one page per day.
2. DON’T — WRITE THE FIRST SCENE UNTIL YOU KNOW THE LAST
This necessitates the use of a dreaded device commonly called an outline. Virtually all writers hate that word. I have yet to meet one who admits to using an outline.
Plotting takes careful planning. Writers waste years pursuing stories that eventually don’t work.
3. DO — WRITE YOUR ONE PAGE EACH DAY AT THE SAME PLACE AND TIME
Early morning, lunch break, on the train, late at night — it doesn’t matter. Find the extra hour, go to the same place, shut the door.
No exceptions, no excuses.
4. DON’T — WRITE A PROLOGUE
Prologues are usually gimmicks to hook the reader. Avoid them. Plan your story (see No. 2) and start with Chapter 1.
5. DO — USE QUOTATION MARKS WITH DIALOGUE
Please do this. It’s rather basic.
6. DON’T — KEEP A THESAURUS WITHIN REACHING DISTANCE
I know, I know, there’s one at your fingertips.
There are three types of words: (1) words we know; (2) words we should know; (3) words nobody knows. Forget those in the third category and use restraint with those in the second.
A common mistake by fledgling authors is using jaw-breaking vocabulary. It’s frustrating and phony.
7. DO — READ EACH SENTENCE AT LEAST THREE TIMES IN SEARCH OF WORDS TO CUT
Most writers use too many words, and why not? We have unlimited space and few constraints.
8. DON’T — INTRODUCE 20 CHARACTERS IN THE FIRST CHAPTER
Another rookie mistake. Your readers are eager to get started. Don’t bombard them with a barrage of names from four generations of the same family. Five names are enough to get started.
I hardly do any preplanning, just fretting and wheel spinning. On quite a few occasions I’ve thought. I’ve got to sort this out before I begin writing, but the only way to arrive at the right way to do it is to crack on and see what works. The process of book writing for me is entirely one of trial and error. Likewise questions of structure. I get the idea for the structure of a book at some point, but rarely at the beginning. I accumulate a quantity of material, and at a certain point some idea of a structure will emerge that’s both the product of and appropriate to the subject. I’ve written books about loads of different subjects, but that wouldn’t count for shit if I just gave each subject the same treatment. In each book I’ve had to arrive at a form that was appropriate to that subject.
GEOFF DYER
It can be daunting, visually, from the very beginning, for a reader to realize he or she must focus and engage non-stop on a paragraph that goes on nearly the length of the page. It’s what’s in the paragraph that matters, of course, but still, remember to let your reader breathe. Be interesting, and take care of your reader.
RICK BASS
I have...learned that you can be patient and diligent and sometimes it just doesn't strike sparks. After a while you begin to understand that writing well is not a promised reward for being virtuous. No, every time you do it you're stepping off into darkness and hoping for some light. You can be faithful, work hard, not waste your talents in drink, and still not have it happen.
TOBIAS WOLFF
If you want to concentrate deeply on some problem, and especially some piece of writing or paper-work, you should acquire a cat. Alone with the cat in the room where you work, I explained, the cat will invariably get up on your desk and settle placidly under the desk lamp. The light from a lamp, I explained, gives a cat great satisfaction. The cat will settle down and be serene, with a serenity that passes all understanding. And the tranquility of the cat will gradually come to affect you, sitting there at your desk, so that all the excitable qualities that impede your concentration compose themselves and give your mind back the self-command it has lost. You need not watch the cat all the time. Its presence alone is enough. The effect of a cat on your concentration is remarkable, very mysterious.
MURIEL SPARK
Writerly wisdom of the ages collected by the author of Advice To Writers, The Big Book of Irony, and The Portable Curmudgeon.
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