Variety, Variety, Variety

But the thing [Stephen Sondheim] always sort of stressed was variety, variety, variety, variety, variety. When you're dealing with a constant rhythm, no matter how great your lyrics are, if you don't switch it up, people's heads are going to start bobbing. And they're going to stop listening to what you're saying, so consistently keep the ear fresh and keep the audience surprised. And, you know, that was his sort of watchword throughout the writing of "Hamilton." I'd send him a batch of songs, and he'd say I'm going to say it again — variety, variety, variety. And so I — you know, that was my mantra during the writing of that show.

LIN-MANUEL MIRANDA

Empty Days Are Important

I always forget how important the empty days are, how important it may be sometimes not to expect to produce anything, even a few lines in a journal. A day when one has not pushed oneself to the limit seems a damaged, damaging day, a sinful day. Not so! The most valuable thing one can do for the psyche, occasionally, is to let it rest, wander, live in the changing light of a room.

MAY SARTON

Writing As a Magical Act

From earliest childhood I was charmed by the materials of my craft, by pencils and paper and, later, by the typewriter and the entire apparatus of printing. To condense from one’s memories and fantasies and small discoveries dark marks on paper which become handsomely reproducible many times over still seems to me, after nearly 30 years concerned with the making of books, a magical act, and a delightful technical process. To distribute oneself thus, as a kind of confetti shower falling upon the heads and shoulders of mankind out of bookstores and the pages of magazines is surely a great privilege and a defiance of the usual earthbound laws whereby human beings make themselves known to one another.

JOHN UPDIKE

The Greatest Challenge Is to Stick with the Book

The novel in my imagination travels with me like a small lavender moth making loopy circles around my head. As soon as I start to put it on the page I kill it. It always breaks my heart. For me, the greatest challenge is to stick with the book I'm writing when what I want to do is hit the delete button.

ANN PATCHETT

There's a Minimum of Descriptions

We just start right off with scene one, and since we are on the film set all the time, there is no “Slow fade-in, camera tiptoes.” None of that. Just “Day” or “Night,” so that that cameraman knows how to light, not even “Morning” or “Evening.” There’s a minimum of fancy descriptions. I find with young writers, and some of them with very good ideas, that they get lost in technical descriptions of which they know very little. Nobody will say, “This is a great screenwriter because he always has the camera angles.” Just have good characters and good scenes and something that plays.

BILLY WILDER

Posterity

Only two things happen to writers when they die: Either their work survives, or it becomes forgotten. Someone will turn up an old box and say, "Who's this guy Irving Wallace?" There's no rhyme or reason to it. Ask kids in high school, "Who is Somerset Maugham?" They're not going to know. He wrote books that were bestsellers in their time. But he's well-forgotten now, whereas Agatha Christie has never been more popular. She just goes from one generation to another. She's not as good a writer as Maugham, and she certainly didn't try to do anything other than entertain people. So I don't know what will happen.

STEPHEN KING

Write Every Day

I tell my students what I tell myself, write every day, even if it’s only a few lines, an image, a funny rhyme, a snatch of overheard conversation. All this is like chopped vegetables for the soup pot or witches cauldron of poems. And I tell them to read, read, read, and imitate the poems they love. I have tried to respond to every poem I’ve ever loved and it has served me well. Poetry is like church to me, and when I read a good poem it’s like the preacher calling out to the congregation, asking for a Hail Mary or a Hallelujah or Amen!

DORIANNE LAUX

Plotting: Do What's Comfortable

I plot as I go. Many novelists write an outline that has almost as many pages as their ultimate book. Others knock out a brief synopsis…. Do what is comfortable. If you have to plot out every move your characters make, so be it. Just make sure there is a plausible purpose behind their machinations. A good reader can smell a phony plot a block away.

CLIVE CUSSLER

You Start with Your Character and Anything Can Happen

When I describe things in my writing I never use writing adjectives. I don’t know what a writing adjective is. I always use acting adjectives. To me writing’s almost the same thing because you’re acting like a character and that’s what acting is all about, the moment. You don’t want to be result oriented, you don’t want to say, “Okay, this is what’s going to happen.” No, you start with your character and anything can happen, like life. You shouldn’t try to predestine where you’re gonna go and what you’re gonna see. You can hit the nail on the head, but you want the kind of freedom that allows for something you hadn’t even imagined to happen. I’m very much a man of the moment. I can think about an idea for a year, two years, even four years all right, but what ever is going on with me the moment I write is gonna work its way into the piece.

QUENTIN TARANTINO

Reliable Versus Unreliable Narrator

I’ve always found the concept of the reliable versus the unreliable narrator peculiar, because I think all narrators are unreliable [laughs]. People tell you what they saw or what they think or what they felt, and they may be telling you the truth, but it might not at all be what someone else saw happen. Like, people always call Humbert Humbert an unreliable narrator. He’s very reliable. He’ll tell you exactly what he thought and felt in a lot of detail. And you also get a very clear sense of what Lolita is experiencing through him. But I don’t think of it as unreliable. I think more in terms, and this sounds really corny, I think more in terms of, Do I care what this narrator thinks and feels? Can he engage me? With students, the problem I see most often is that I don’t get a sense of what their narrators care about. What they want. What matters to them. That’s a bigger issue to me than whether or not they’re reliable in some way.

MARY GAITSKILL