Don't Think

Don't think. Thinking is the enemy of creativity. It's self-conscious, and anything self-conscious is lousy. You can't try to do things. You simply must do things.

RAY BRADBURY

Nothing Can Break the Mood Like Bad Dialogue

Nothing can break the mood of a piece of writing like bad dialogue. My students are miserable when they are reading an otherwise terrific story to the class and then hit a patch of dialogue that is so purple and expositional that it reads like something from a childhood play by the Gabor sisters. ... I can see the surprise on my students' faces, because the dialogue looked okay on paper, yet now it sounds as if it were poorly translated from their native Hindi.

ANNE LAMOTT

Think of Your Main Characters as Dinner Guests

Think of your main characters as dinner guests. Would your friends want to spend ten hours with the characters you’ve created? Your characters can be loveable, or they can be evil, but they’d better be compelling.

PO BRONSON

Find the Universal in the Local

As a writer one doesn’t belong anywhere. Fiction writers, I think, are even more outside the pale, necessarily on the edge of society. Because society and people are our meat, one really doesn’t belong in the midst of society. The great challenge in writing is always to find the universal in the local, the parochial. And to do that, one needs distance.

WILLIAM TREVOR

One Is Always Writing or Should Be Writing

When writing goes painfully, when it’s hideously difficult, and one feels real despair (ah, the despair, silly as it is, is real!)–then naturally one ought to continue with the work; it would be cowardly to retreat. But when writing goes smoothly–why then one certainly should keep on working, since it would be stupid to stop. Consequently one is always writing or should be writing.

JOYCE CAROL OATES

The Process Begins by Actually Sitting Down

I always have a clock in front of me. Sometimes, if things are going badly, I will force myself to write a page in a half an hour. I find that can be done. I find that what I write when I force myself is generally just as good as what I write when I’m feeling inspired. It’s mainly a matter of forcing yourself to write. There’s a marvelous essay that Sinclair Lewis wrote on how to write. He said most writers don’t understand that the process begins by actually sitting down.

TOM WOLFE

All Real Work Is Hard

Everybody has a hard job. All real work is hard. My work happened also to be undoable. Morning after morning for 50 years, I faced the next page defenseless and unprepared. Writing for me was a feat of self-preservation. If I did not do it, I would die. So I did it. Obstinacy, not talent, saved my life. It was also my good luck that happiness didn’t matter to me and I had no compassion for myself. Though why such a task should have fallen to me I have no idea. Maybe writing protected me against even worse menace. Now? Now I am a bird sprung from a cage instead of (to reverse Kafka’s famous conundrum) a bird in search of a cage. The horror of being caged has lost its thrill. It is now truly a great relief, something close to a sublime experience, to have nothing more to worry about than death.

PHILIP ROTH

Books Are Made Like Pyramids

Books aren’t made in the way that babies are: they are made like pyramids. There’s some long-pondered plan, and then great blocks of stone are placed one on top of the other, and it’s back-breaking, sweaty, time consuming work. And all to no purpose! It just stands like that in the desert! But it towers over it prodigiously. Jackals piss at the base of it, and bourgeois clamber to the top of it, etc. Continue this comparison.

GUSTAVE FLAUBERT

A Spoken Language Is a Living Creature

A language cannot be reduced to a dictionary or stock of words and phrases. Nor can it be reduced to a warehouse of the works written in it. A spoken language is a body, a living creature, whose physiognomy is verbal and whose visceral functions are linguistic. And this creature’s home is the inarticulate as well as the articulate.

JOHN BERGER

Creative Incubation

You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.

JOSEPH CAMPBELL