The rules seem to be these: if you have written a successful novel, everyone invites you to write short stories. If you have written some good short stories, everyone wants you to write a novel. But nobody wants anything until you have already proved yourself by being published somewhere else.
JAMES MICHENER
You must once and for all give up being worried about successes and failures. Don’t let that concern you. It’s your duty to go on working steadily day by day, quite steadily, to be prepared for mistakes, which are inevitable, and for failures.
ANTON CHEKHOV
Almost the whole problem of writing poetry is to bring it back to what you really feel, and that takes an awful lot of maneuvering. You may feel the doorknob more strongly than some big personal event, and the doorknob will open into something you can use as your own.
ROBERT LOWELL
Write against patterns. Go against the devils. Write what you never write. Lie. Validate what you don’t validate. Indulge what you don’t like. Wallow in it. Write the opposite of what you always write, think, speak. Do everything against the grain!
DEENA METZGER
The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story. Sometimes we try to protect them from getting booboos that are too big. Don’t. This is your protagonist, not your kid.
JANET FITCH
Beware of cleverness; think of nothing but greatness. Make up your mind to write the greatest short stories in the world, and do not permit yourself even to dream that you cannot write them.
EDWIN ARLINGTON ROBINSON
Never fear [the audience] or despise it. Coax it, charm it, interest it, stimulate it, shock it now and then if you must, make it laugh, make it cry, but above all . . . never, never, never bore the hell out of it.
NOEL COWARD
Of course, as a novelist, I never want to write about “issues” like “the Indian family.” What I want to write about is the air we breathe. These days, I feel that novels, I don’t know for what reason—maybe because of the speed and the way that books have to be sold—these days, novels are becoming kind of domesticated, you know? They have a title, and a team, and they are branded just like NGOs: you writing on gender, you writing on caste, you writing on whatever. But for me, the fact is that these are not “issues”—this is the air we breathe.
ARUNDHATI ROY
Most of my friends who are novelists have told me that they never know the end of their novels when they start writing them; they find it peculiar that for my novels I need to know, and I need to know not just the ending, but every significant event in the main characters’ lives. When I finally write the first sentence, I want to know everything that happens, so that I am not inventing the story as I write it; rather, I am remembering a story that has already happened. The invention is over by the time I begin. All I want to be thinking of is the language—the sentence I am writing, and the sentence that follows it. Just the language.
JOHN IRVING
In terms of cathartic affect, memoir is like therapy, the difference being that in therapy, you pay them. The therapist is the mommy, and you’re the baby. In memoir, you’re the mommy, and the reader’s the baby. And—hopefully—they pay you.
MARY KARR
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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