It's Your Duty to Lie

There's an enormous difference between being a story writer and being a regular person. As a person, it's your duty to stay on a straight and even keel, not to break down blubbering in the streets, not to pull rude drivers from their cars, not to swing from the branches of trees. But as a writer it's your duty to lie and to view everything in life, however outrageous, as an interesting possibility. You may need to be ruthless or amoral in your writing to be original. Telling a story straight from real life is only being a reporter, not a creator. You have to make your story bigger, better, more magical, more meaningful than life is, no matter how special or wonderful in real life the moment may have been.

RICK BASS

The Conquest of Loneliness

The conquest of loneliness was the missing link that was one day going to make a decent novelist out of me. If you are out here and cannot close off the loves and hates of all that back there in the real world the memories will overtake you and swamp you and wilt your tenacity. Tenacity stamina…close off to everything and everyone but your writing. That’s the bloody price. I don’t know maybe it’s some kind of ultimate selfishness. Maybe it’s part of the killer instinct. Unless you can stash away and bury thoughts of your greatest love you cannot sustain the kind of concentration that breaks most men trying to write a book over a three or four year period.

LEON URIS

What Is an Adjective?

What is an adjective? Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. The word adjective (epitheton in Greek) is itself an adjective meaning “placed on top,” “added,” “appended,” “foreign.” Adjectives seem fairly innocent additions, but look again. These small imported mechanisms are in charge of attaching everything in the world to its place in particularity. They are the latches of being.

ANNE CARSON

Who Could Not Want to Write a Poem?

Poetry will always be my friend and confidant, whether it’s “good” or not, whether I publish it or not. In fact, I have a whole book’s worth of poems right now that have not seen the light of day and I’m not sure I care if they ever do. I never did care. I write for myself, to help me understand the world I live in and to honor the world that was given to me entirely by accident. Whatever I’ve been through in my life cannot compare to the gift of life. Against unfathomable odds, I was conceived and born. Against even greater odds, I have lived and continue to live. It is the greatest gift to wake up every morning into a swirling world and to be given air to breathe, water to drink, a sun and a moon, stars, rivers, trees, birds flitting and singing, ants making their homes beneath the sidewalks, a summer storm…I don’t know, who could not want to fall to their knees in gratitude? Who could not want to write a poem to give back?

DORIANNE LAUX

F--- Research!

F--- research! I say this, knowing that my works are thought to be well-researched and I am proud of the research in them. But in research there’s also death and destruction and self-loathing. You can do the research later. You cannot use “more research” as a crutch to justify your sloth. You are selling narrative not background. The most important truths you tell involve what you know about human behavior, not what color the Obersturmbannführer’s epaulets are. If you don’t know it, just bull on through and keep going. Make it up. Jam it with placeholders. It’s OK. At that stage you need momentum, not precision. That’s why it’s a first draft; that’s why there’ll be a second draft.

STEPHEN HUNTER

The Shopping List Technique

Simply this: you sit down and make a list of the ten things that have to happen in your novel—the character actions or physical events without which your story simply cannot occur. Then, when you’re sure you’ve got pretty much the ten major “event beats” or character issues nailed down, you break each of those ten things into its own section and list the ten things that have to happen surrounding that event or supporting that character action. You take your time over this work, because this is the skeleton of the body of your work to come—the physical / emotional / action structure on which you’re going to build your novel.

DIANE DUANE

The Pleasure Is the Rewriting

I don't like to push forward with a story or novel unless it seems to me that the prose is strong enough to be permanent, even though I know very well that once the work is finished I will want to rewrite it. The pleasure is the rewriting. The first sentence can’t be written until the final sentence is written. This is a koan-like statement, and I don't mean to sound needlessly obscure or mysterious, but it’s simply true. The completion of any work automatically necessitates its revisioning.

JOYCE CAROL OATES