You have to write when you’re not inspired. And you have to write the scenes that don’t inspire you. And the weird thing is that six months later, a year later, you’ll look back at them and you can’t remember which scenes you wrote when you were inspired and which scenes you just wrote because they had to be written next.
NEIL GAIMAN
Explore sentences using dependent clauses. A dependent clause (a sentence fragment set off by commas, dontcha know) helps you explore your story by moving you deeper into the sentence. It allows you to stop and think harder about what you’ve already written. Often the story you’re looking for is inside the sentence. The dependent clause helps you uncover it.
JANET FITCH
Writing is like playing the guitar. There’s no substitute for practice. Guidance and models and goals are good, and you have to listen to really good guitarists/read really good writers and pay attention to how they do it (listening to your exact peers fumble isn’t as helpful), but mainly you have to do it. With passion, for which there’s also no substitute.
REBECCA SOLNIT
I write, preferably, staring at a blank wall. That’s not the best scenery for a writer—better for an artist, but not for a writer. I have a lovely study, but once you’re into it, it doesn’t make any difference. But the difficulty is cranking up the machine, getting it started. You can sit there for hours, actually. When you’re at an impasse, you have to go back to it. Every morning or afternoon, whenever you write, you have to go up and shoot that old bear under your desk between the eyes. That’s right. You have to have enormous discipline, especially if you like your drink. I know so many writers who went down the drain. If you like to drink, you can’t do it. It’s a reward. It should never be a crutch.
ROBERT LECKIE
Writers can generate industrial quantities of procrastination before their first sonnet is rejected, or their first novel-outline-plus-sample-chapter is exorcised, burned and its ashes buried at sea. Are my pens facing north? Or magnetic north? What's that funny noise? Oh look, it's raining outside. My fingernails need cutting. I think my computer is going to break, better get it checked. Do I have toothache? Will I have toothache? The possibilities lend new meaning to the words eternity and purgatory.
A.L. KENNEDY
Readers, I think, are more sophisticated on the whole than critics. They can make the jumps, they can make imaginative leaps. If your structure is firm and solid enough, however strange, however unusual, they will be able to follow it. They will climb with you to the most unlikely places if they trust you, if the words give them the right footholds, the right handholds. That’s what I want my readers to do: I want them to come with me when we’re going mountain-climbing. This isn’t a walk through a theme park. This is some dangerous place that neither of us has been before, and I hope that by traveling there first, I can encourage the reader to come with me and that we will make the trip again together, and safely.
JEANETTE WINTERSON
The best advice I know to give is to learn to put up with boredom and frustration. You have to sit through the dull times when nothing's coming and stay there, for however much time you've given yourself to write, even then. It doesn't have to be all day that you do this – it could be an hour, two hours maybe – but the ability to just stay there in the face of soul-wearying emptiness, that has to be developed just like any muscle. Because that's what imagination is: a muscle, and it has to be worked out. So you sit there in the face of nothing, or you write gibberish you know you're going to toss the next day. But you stay there. You work at it. You fill the time. And gradually, the empty days grow fewer, and the frustration periods shrink. You never lose them entirely, but they shrink.
PETER S. BEAGLE
Poems start from a phrase, an image, an idea, a rhythm insistent in the back of the brain. I once wrote a poem when I realized I had been hearing a line from a David Byrne song entirely wrong, and I liked it my way. Some poems are a journey of discovery and exploration for the writer as well as the reader. I find out where I am going when I finally arrive, which may take years.
MARGE PIERCY
Mostly, we authors must repeat ourselves — that's the truth. We have two or three great moving experiences in our lives — experiences so great and moving that it doesn't seem at the time that anyone else has been so caught up and pounded and dazzled and astonished and beaten and broken and rescued and illuminated and rewarded and humbled in just that way ever before.
F. SCOTT FITZGERALD
Avoid the Frederick Forsyth explanatory mode. I adore the way Forsyth breaks the narratives of his thrillers in order to dump data on the reader. Here’s an example: after a character in The Dogs of War discovers platinum deposits there follows a lengthy disquisition on the international platinum market, and shortly after this, a history of catalytic converters. I’m not complaining about this mode, but in writing about nature, I try to be more like John Le Carré. You don’t catch him explaining the history and workings of the British security services. He just puts two men in a club in Whitehall and you learn what you need from what they say. And what they don’t say.
HELEN MACDONALD
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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