The Serious Fiction Writer Always Writes About the Whole World

There’s a certain grain of stupidity that the writer of fiction can hardly do without, and this is the quality of having to stare, of not getting the point at once. The longer you look at one object, the more of the world you see in it; and it’s well to remember that the serious fiction writer always writes about the whole world, no matter how limited his particular scene. For him, the bomb that was dropped on Hiroshima affects life on the Oconee River, and there’s not anything he can do about it…. People without hope not only don’t write novels, but what is more the point, they don’t read them. They don’t take long looks at anything, because they lack the courage. The way to despair is to refuse to have any kind of experience, and the novel, of course, is a way to have experience.

FLANNERY O’CONNOR

Writing Is Not Exactly a Scarce Resource

Writer’s block, if that’s the name for it, happens when I am boring, when my mind is flat, when I have nothing to add to what has been said and done. Therefore it happens nearly all of the time. It happens when writing is an obligation and not a desire. And I really don’t mind. It’s not clear that I am meant to pump out writing at all costs. The opposite is true. The world will be just fine without anything I might write. Writing is not exactly a scarce resource. There is far too much out there that hasn’t been read enough. So I don’t try to solve this silence. To me it is necessary.

BEN MARCUS

There Is Much in All of Us

There is much, much in all of us, but we do not know it. No one ever calls it out in us, unless we are lucky enough to know intelligent, imaginative, sympathetic people who love us and have the magnanimity to encourage us, to believe in us, by listening, by praise, by appreciation, by laughing. If you are going to write, you must become aware of this richness in you and come to believe in it and know it is there so that you can write opulently with self-trust. Once you become aware of it, have faith in it, you will be all right. But it is like this: if you have a million dollars in the bank and don't know, it doesn't do you any good.

BRENDA UELAND

Don't Dress Up Your Vocabulary

One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you’re maybe a little bit ashamed of your short ones.

STEPHEN KING

To Understand Is to Tremble

I distrust summaries, any kind of gliding through time, any too great a claim that one is in control of what one recounts; I think someone who claims to understand but is obviously calk, someone who claims to write with emotion recollected in tranquility, is a fool and a liar. To understand is to tremble. To recollect is to re-enter and be riven.... I admire the authority of being on one's knees in front of the event.

HAROLD BRODKEY

A Novel Takes Over a Writer's Life

I just write what I want to write. Quiet is very beautiful to me, the medium of everything that matters. I'm grateful for the patience of my readers, certainly. But the fact is that a novel takes over a writer's life for literal years. What I write, day by day and word by word, is much of my felt life. It would be a terrible capitulation to give up my explorations of quiet because of anxiety about the receptiveness of readers. I have found that readers are very much to be trusted.

MARILYNNE ROBINSON

There's No Use Revising Something Bad

I tell these students there’s no use in revising something that’s bad. I believe that, for short stories. It’s brief, very brief, from four to twelve pages, getting something done. I don’t believe in rewriting this one goddamned story. If the first draft is no goddamned good, it’s no good. It’s stupid to revise it, to me. The first draft has got to be loaded with most of it. Does it not? It can’t just be a shell of what’s going to be. I think it’s got to be exciting.

BARRY HANNAH

Get the Big Truth First

A novel has all kinds of pitfalls because it takes longer and you are around people, and if you’re not careful you will talk about it. The novel is also hard to write in terms of keeping your love intense. It’s hard to stay erect for two hundred days. So, get the big truth first. If you get the big truth, the small truths will accumulate around it. Let them be magnetized to it, drawn to it, and then cling to it.

RAY BRADBURY

Your Characters Are Like Children

Your characters…are like children. You give birth to these children but you have to send them into the world and then they have to live their own lives. Some people will hate the characters, some people will love them, just like in real life. I like to imagine my characters going out into the world to interact with the readers by themselves. And I’m completely free from that. I just let go.

YIYUN LI

Telling the Truth Is a Ruthless Act

I think telling the truth is kind of a ruthless act and – both in specifics since you do invade some privacies in fiction. And in the larger way, you are trying to – or I am trying to, as it were, rub humanity's face in the facts of our existence that there is much that is ignoble and desperate about being a human being. And my fiction is in part motivated by pointing these things out. So, yes, there is something ruthless and cruel, even to generate suspense as a bit of a tease, isn't it? So there's a kind of a sadistic element in the writer's attempt to keep the reader's interest.

JOHN UPDIKE