Writers Are Superstitious

My office has a lot of pulp novels in it, and I also collect carnival prizes from the 1930s and 1940s. They’re very vivid and painted in wacky colors and decorated with sparkles. I have about 10 or 12 of them. My favorite one is a hula girl, a little girl with an enigmatic face. The light coming into my room catches the sparkles. I also have a little statue of Freud. These are like totems. I think we writers are very superstitious. We don’t know why it’s working when it’s working, so we attach cause and effect. I’ll think, “It worked when I looked at the hula girl, so look at it and everything will be fine.” It sounds a little woo-woo, but I try to think what made something work and then I walk it back.

MEGAN ABBOTT

Writing Is a Process of Expansion and Reduction

I would imagine that most writers revise, one way or another. Maybe they don’t revise as extensively on paper, but the process of writing is a process of inner expansion and reduction. It’s like an accordion: You open it and then you bring it back, hoping that additional sound—a new clarity—may come out. It’s all for clarity.

JERZY KOSINSKI

The Purpose of Writing

What is the purpose of writing? For me personally, it is really to explain the mystery of life, and the mystery of life includes, of course, the personal, the political, the forces that make us what we are while there's another force from inside battling to make us something else.

NADINE GORDIMER

Read as a Writer

Read a lot. But read as a writer, to see how other writers are doing it. And make your knowledge of literature in English as deep and broad as you can. In workshops, writers are often told to read what is being written now, but if that is all you read, you are limiting yourself. You need to get a good overall sense of English literary history, so you can write out of that knowledge.

THEODORA GOSS

Stop When It's Going Well

My favorite “trick” is to stop writing at a point where I know that I can pick up easily the next day. I’ll stop in mid-paragraph, often in midsentence. It makes getting out of bed so much easier, because I know that all I’ll have to do to be productive is complete the sentence. And by then I’ll be seated at my desk, coffee and Oreo cookie at hand, the morning’s inertia overcome. There’s an added advantage: The human brain hates incomplete sentences. All night my mind will have secretly worked on the passage and likely mapped out the remainder of the page, even the chapter, while simultaneously sending me on a dinner date with Cate Blanchett.

ERIK LARSON

Walk Away

Do you know the writer Mihaly Csikszentmihalyi? He’s a Hungarian psychologist who writes about the state of flow. If you’re in a creative state, then essentially things sort of coagulate and you enter a state of hyper­consciousness—you can write for an hour or so, but it only seems like a few minutes because you’re so concentrated on it. I’ve experienced that a lot, which doesn’t mean there’s no frustration, but I don’t really remember the frustration very well. I remember more when the writing comes together. And I’m willing to seek out that coming together. If I get frustrated, I’ll go eat something, I’ll go open another Diet Coke, I’ll go to the barn, I’ll distract myself, and then the parts in my brain that were working click and I get an idea. I read an article about how to learn to play a musical instrument. You practice, practice, practice on Friday, then you walk away. And then when you sit down on Saturday, you’re better. Not only because of all the practice, but also because of the walking away. I’m a firm believer in walking away. 

JANE SMILEY

You Have to Write When You're Not Inspired

If you only write when you’re inspired you may be a fairly decent poet, but you’ll never be a novelist because you’re going to have to make your word count today and those words aren’t going to wait for you whether you’re inspired or not. 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

Learn Punctuation

Learn punctuation; it is your little drum set, one of the few tools you have to signal the reader where the beats and emphases go. (If you get it wrong, any least thing, the editor will throw your manuscript out.) Punctuation is not like musical notation; it doesn't indicate the length of pauses, but instead signifies logical relations. There are all sorts of people out there who know these things very well. You have to be among them even to begin.

ANNIE DILLARD

Do What Works

There are so many different kinds of writing and so many ways to work that the only rule is this: do what works. Almost everything has been tried and found to succeed for somebody. The methods, even the idea of successful writers contradict each other in a most heartening way, and the only element I find common to all successful writers is persistence — an overwhelming determination to succeed.

SOPHY BURNHAM

Turn the Paper Around

I never kept a diary. But what I have done, one thing I did that is unusual, and Donald Barthelme put me on to this – he said, if you want to change writing, if are you having some problems, turn the paper around, instead of having it this way, turn it this way and just start writing across, whatever is on your mind. Cross writing. And you can start cross writing and say, I met that son of a (bleep) or so and so, finally happened, or, great weather Tuesday, and start going across. And it is amazing. It`s entirely different. It`s not what you would write if you were writing this way…. I used to do that. And I would fill in my thoughts, sometimes – written 10 or 12 pages longhand about what is happening, what happened the last few days. Sometimes just days going by, but not as a regular thing.

ROGER ANGELL