I believe it was the late Rosalind Russell who gave this wisdom to a young actor: “Do you know what makes a movie work? Moments. Give the audience half a dozen moments they can remember, and they’ll leave the theater happy.” I think she was right. And if you’re lucky enough to write a movie with half a dozen moments, make damn sure they belong to the star.
WILLIAM GOLDMAN
Thou shalt see what thou writest; and therefore thou shalt not mix thy metaphors. For a mixed metaphor is proof that the image therein contained has not been seen with the inner eye, and therefore such a metaphor is not a true metaphor, created by the active eye of imagination, but stale jargon idly drawn up from the stagnant sump of commonplace.
HUGH TREVOR-ROPER
Maybe being oneself is an acquired taste. For a writer it's a big deal to bow—or kneel or get knocked down—to the fact that you are going to write your own books and not somebody else's. Not even those books of the somebody else you thought it was your express business to spruce yourself up to be.
PATRICIA HAMPL
Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life, and it is the main obstacle between you and a shitty first draft. I think perfectionism is based on the obsessive belief that if you run carefully enough, hitting each stepping-stone just right, you won't have to die. The truth is that you will die anyway and that a lot of people who aren't even looking at their feet are going to do a whole lot better than you, and have a lot more fun while they're doing it.
ANNE LAMOTT
You need that pride in yourself, as well as a sense, when you are sitting on Page 297 of a book, that the book is going to be read, that somebody is going to care. You can’t ever be sure about that, but you need the sense that it’s important, that it’s not typing; it’s writing.
ROGER KAHN
Poetry goes back to the invention of language itself. I think one of the big differences between poetry and prose is that prose is about something, it’s got a subject… poetry is about what can’t be said. Why do people turn to poetry when all of a sudden the Twin Towers get hit, or when their marriage breaks up, or when the person they love most in the world drops dead in the same room? Because they can’t say it. They can’t say it at all, and they want something that addresses what can’t be said.
W.S. MERWIN
We fret about words, we writers. Words mean. Words point. They are arrows. Arrows stuck in the rough hide of reality. And the more portentous, more general the word, the more they can also resemble rooms or tunnels. They can expand, or cave in. They can come to be filled with a bad smell. They will often remind us of other rooms, where we’d rather dwell or where we think we are already living. They can be spaces we lose the art or the wisdom of inhabiting. And eventually those volumes of mental intention we no longer know how to inhabit will be abandoned, boarded up, closed down.
SUSAN SONTAG
I hate to even suggest that you’d be doing this, but don’t plagiarize…. Some people have the urge to do it, like engaging in kleptomania or unprotected sex, but it’s bad for you. You always get caught, or if you don’t, you’ll always be worrying about it. Also, editors and/or professors who consider themselves tolerant to the point of radicalism cannot tolerate plagiarism: It brings the outraged moralist in all of us to the fore. If you—even accidentally—plagiarized, now is the time to take it out.
CAROLYN SEE
Never write in a café, especially in Europe. Ever since Hemingway, this has been the literary equivalent of what in mountain climbing is called the "tech weenie" (that is, someone who cannot get a foot off the ground but is weighed down with $10,000's worth of equipment). Literary skill, much less greatness, cannot be had with a pose, and exhibitionism extorts the price of failure. Also, have pity on the weary Parisians who have wanted only a citron pressé but have been unable to find a café where every single seat is not occupied by an American publicly carrying on a torrid affair with his moleskin.
MARK HELPRIN
Writing is magical though. How else to describe the ability to physically and emotionally impact upon a stranger at the other side of the world using only twenty-six symbols, arranged in sequence? Writing is not tactile or sensory; it’s just curves and lines, combined to create spells. And that, in my book, is magic. I use this magic as an umbrella against anxiety.
BENJAMIN MYERS
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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