Write What Scares You

Everyone tells you to write what you know. It’s the tried-and-true advice every writer hears at some point in her career. But to take my writing to a deeper level, I’ve found that a better practice is to simply write what frightens you, haunts you, even.… I now keep a sign on the bulletin board in my office that reads: “Write What Scares You.” I’ve learned that tapping into the hard stuff — whether it’s the fear of loss or a boogeyman lurking in childhood memories — is what ultimately gives a story the power to leap off the page and grab you by the collar.

SARAH JIO

Language Is a Freedom

For me, language is a freedom. As soon as you have found the words with which to express something, you are no longer incoherent, you are no longer trapped by your own emotions, by your own experiences; you can describe them, you can tell them, you can bring them out of yourself and give them to somebody else. That is an enormously liberating experience, and it worries me that more and more people are learning not to use language; they’re giving in to the banalities of the television media and shrinking their vocabulary, shrinking their own way of using this fabulous tool that human beings have refined over so many centuries into this extremely sensitive instrument. I don’t want to make it crude, I don’t want to make it into shopping-list language, I don’t want to make it into simply an exchange of information: I want to make it into the subtle, emotional, intellectual, freeing thing that it is and that it can be.

JEANETTE WINTERSON

Writing Is Hard, Rewriting Is Easy

I…have a trick that makes things easier for me. Since writing is very hard and rewriting is comparatively easy and rather fun, I always write my scripts all the way through as fast as I can, the first day, if possible, putting in crap jokes and pattern dialogue—“Homer, I don’t want you to do that.” “Then I won’t do it.” Then the next day, when I get up, the script’s been written. It’s lousy, but it’s a script. The hard part is done. It’s like a crappy little elf has snuck into my office and badly done all my work for me, and then left with a tip of his crappy hat. All I have to do from that point on is fix it. So I’ve taken a very hard job, writing, and turned it into an easy one, rewriting, overnight. I advise all writers to do their scripts and other writing this way. And be sure to send me a small royalty every time you do it.

JOHN SWARTZWELDER

You Can't Take It Personally

I still get rejections all the time. In a way, it’s hard because a short story is so personal, and you send it off into the world and hope it does well. But it’s all so subjective. I always figure if one editor didn’t like a story, some other editor will. You can’t take it personally, because it would be too easy to just stop submitting, and then where would you be?

KATHERINE HEINY

Writing Is an Act of Faith

Becoming a writer was partly a matter of acquiring technique, but it was just as importantly a matter of the spirit and a habit of the mind. It was the willingness to sit in that chair for thousands of hours, receiving only occasional and minor recognition, enduring the grief of writing in the belief that somehow, despite my ignorance, something transformative was taking place. It was an act of faith, and faith would not be faith if it was not hard, if it was not a test, if it was not an act of willful ignorance, of believing in something that can neither be predicted nor proved by any scientific metric.

VIET THANH NGUYEN

Sometimes You Just Want a Pat On the Back

I have three or four readers that I share with on a regular basis. As soon as I finish something, and when I feel like it’s in a good place, I send it to them. You know, excitedly, hoping for their approval. Those readers will often be very specific and sometimes they’re just like, “It’s done. Great.” Sometimes that’s all you need. Sometimes that’s why you send it, you just want a pat on the back.

ADA LIMÓN

Writing a Novel Gets Weird

Novels are like marriages. You have to get into the mood to write them — not because of what writing them is going to be like, but because it's so sad to end them. When I finished my first book, I really felt like I'd fallen in love with my main character and that she'd died. You have to understand, writing a novel gets very weird and invisible-friend-from-childhood-ish, then you kill that thing, which was never really alive except in your imagination, and you're supposed to go buy groceries and talk to people at parties and stuff. Characters in stories are different. They come alive in the corners of your eyes. You don't have to live with them. 

DAVID FOSTER WALLACE