Most of the fact writing has become selfish writing. The writers don't think about the reader but about themselves. They're all trying to show their wonderful minds and their unique unhappinesses and their fascinating adjustments and so on. Writing is for the reader. [The reader] always comes first.
MAEVE BRENNAN
Separate the processes of creation from improving. You can’t write and edit, or sculpt and polish, or make and analyze at the same time. If you do, the editor stops the creator. While you invent, don’t select. While you sketch, don’t inspect. While you write the first draft, don’t reflect. At the start, the creator mind must be unleashed from judgement.
KEVIN KELLY
If you want to really hurt your parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.
KURT VONNEGUT
Examine your motives. Are you drawn to fiction writing because it can be performed cheaply at home? Are you an alcoholic looking for an excuse to sleep late? Writing is for compulsive storytellers. So are a lot of things—police work, diplomacy, counseling the needy, etc. Before you commit to writing as a career, make sure you’re not simply agoraphobic or depressed.
NELL ZINK
You go into a book and you're in the dark, really. You go in with a certain fear and trembling. You know one thing. You know you will not be the same person when this voyage is over. But you don't know what's going to happen to you between getting on the boat and stepping off.
JAMES BALDWIN
After a lifetime of hounding authors for advice, I’ve heard three truths from every mouth: (1) Writing is painful—it’s “fun” only for novices, the very young, and hacks; (2) other than a few instances of luck, good work only comes through revision; (3) the best revisers often have reading habits that stretch back before the current age, which lends them a sense of history and raises their standards for quality.
MARY KARR
Keep your paragraphs short. Writing is visual—it catches the eye before it has a chance to catch the brain. Short paragraphs put air around what you write and make it look inviting, whereas a long chunk of type can discourage a reader from even starting to read.
WILLIAM ZINSSER
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
Don’t get discouraged because there’s a lot of mechanical work to writing. There is, and you can’t get out of it. I rewrote A Farewell to Arms at least fifty times. You’ve got to work it over. The first draft of anything is shit. When you first start to write you get all the kick and the reader gets none, but after you learn to work it’s your object to convey everything to the reader so that he remembers it not as a story he had read but something that happened to himself. That’s the true test of writing. When you can do that, the reader gets the kick and you don’t get any. You just get hard work and the better you write the harder it is because every story has to be better than the last one. It’s the hardest work there is. I like to do and can do many things better than I can write, but when I don’t write I feel like shit. I’ve got the talent and I feel that I’m wasting it.
ERNEST HEMINGWAY
Some critics have occasionally suggested that I impose on characters certain possibilities of thought or language or emotional experience, which that particular character, or to put it more gruesomely, those kinds of characters wouldn't likely be able to think or talk about. But my attitude is that there are no such things as kinds or types of characters in fiction or in life. Eloquence or penetrating understanding can visit anybody. In fact, it's fiction's business to try to enlarge our understanding of and sympathy for people. If to do that I have to strain your conventional understanding about humans — well that's also art's proper business and my hope is that I'll repay your indulgence.
RICHARD FORD
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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