Writing Is a Monstrous Act

Writing is a monstrous act because it implies a metamorphosis. Writing, to me, is an attempt at becoming someone else. Every novel is a long way of tracing an x, of crossing myself out. I don’t want to be on the page. I want someone else to be there—someone else to “happen.” Still, despite my best efforts, I always remain, deformed and disfigured. The final paradox, of course, is that I am the one striking myself out. And isn’t this duality also quite monstrous?

HERNAN DIAZ

Learn How to Read Your Work

People say, I write for myself, and it sounds so awful and so narcissistic, but in a sense if you know how to read your own work—that is, with the necessary critical distance—it makes you a better writer and editor. When I teach creative writing, I always speak about how you have to learn how to read your work; I don’t mean enjoy it because you wrote it. I mean, go away from it, and read it as though it is the first time you’ve ever seen it. Critique it that way. Don’t get all involved in your thrilling sentences and all that . . .

TONI MORRISON

Writing Is a Lonely Occupation

Writing is a lonely occupation at best. Of course there are stimulating and even happy associations with friends and colleagues, but during the actual work of creation the writer cuts himself off from all others and confronts his subject alone. He moves into a realm where he has never been before — perhaps where no one has ever been. It is a lonely place, even a little frightening.

RACHEL CARSON

Just Listen

For years I’d see reporters come in with lists of questions to ask. They had to get through that list, no matter what. You’d never do that with jazz artists. Forget the questions. Listen. Duke [Ellington] used to say to me, "I don’t want people listening to my music to analyze what the chords are or what we’re doing with the rhythms. I want them to open up to the music." It's the same thing with interviewing. I just listen, and the questions come from that.

NAT HENTOFF

Write What You Wish to Write

So long as you write what you wish to write, that is all that matters; and whether it matters for ages or only for hours, nobody can say. But to sacrifice a hair of the head of your vision, a shade of its color, in deference to some Headmaster with a silver pot in his hand or to some professor with a measuring-rod up his sleeve, is the most abject treachery.

VIRGINIA WOOLF

Publishing a Book Is Terrible

It is only slightly exaggerating to say that everything about publishing a book is terrible, even when things go well. Maybe this is a matter of temperament, and people blessed with good temperaments live in full knowledge of the wonder and sense of grace they should feel about every aspect of the privilege it is to put a book into the world, and it just happens that I and every writer I know have bad temperaments. For Philip Roth, who published some thirty-plus books and won every possible literary award—or every award but one—writing was “frustration, daily frustration, not to mention humiliation.” If writing felt like humiliation to Philip Roth, what hope do any of the rest of us have? The idea that some sign of outward success, some award or sales figure, could satisfy us is a mistake, I think. The soul one pours into a novel or a collection of poems, the years of effort a book represents—what possible response from the world could be adequate recompense for that?

GARTH GREENWELL

Put Away Your Dictionary

Never look at a reference book while doing a first draft. You want to write a story? Fine. Put away your dictionary, your encyclopedias, your World Almanac, and your thesaurus. Better yet, throw your thesaurus into the wastebasket. The only things creepier than a thesaurus are those little paperbacks college students too lazy to read the assigned novels buy around exam time. Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule. You think you might have misspelled a word? O.K., so here is your choice: either look it up in the dictionary, thereby making sure you have it right - and breaking your train of thought and the writer's trance in the bargain - or just spell it phonetically and correct it later. Why not? Did you think it was going to go somewhere? And if you need to know the largest city in Brazil and you find you don't have it in your head, why not write in Miami, or Cleveland? You can check it ... but later. When you sit down to write, write. Don't do anything else except go to the bathroom, and only do that if it absolutely cannot be put off.

STEPHEN KING

Take Public Transportation Whenever Possible

I do a lot of writing and note-taking on trips: in airports, on airplanes, on trains. I recommend taking public transportation whenever possible. There are many good reasons to do this (one’s carbon footprint, safety, productive use of time, support of public transportation, etc.), but for a writer, here are two in particular: 1) you will write a good deal more waiting for a bus or sitting on a train than you will driving a car, or as a passenger in a car; and (2) you will be thrown in with strangers—people not of your choosing. Although I pass strangers when I’m walking on a city street, it is only while traveling on public transportation that I sit thigh to thigh with them on a subway, stare at the back of their heads waiting in line, and overhear sometimes extended conversations. It takes me out of my own limited, chosen world. Sometimes I have good, enlightening conversations with them.

LYDIA DAVIS

The Art of Noticing

Maybe…start your story with your notebook closed, and tap out a few descriptions without consulting it. Then you can open the notebook and confirm the details with your notes. Or — my favorite technique — tell the story out loud to a friend and listen to what naturally bubbles up in the telling. If you’re a writer, you ought to be a good storyteller, with instincts for what makes a listener perk up. Pay attention to what you tell your listener, and you’ll be able to translate that to the page. This all assumes one essential behavior: Namely, that you pay very close attention when you’re collecting information for a story. Worry less about your notes and more about absorbing the experience — really absorbing it, so you know it deeply. The art of noticing is the bedrock; the craft is taking what you’ve noticed and arranging it well on the page. Start with your eyes open, and you’re more than halfway there.

SUSAN ORLEAN

Pet the Dog or Kick the Dog?

Chayefsky used to say, “There are two kinds of scenes: the Pet the Dog scene and the Kick the Dog scene. The studio always wants a Pet the Dog scene so everybody can tell who the hero is.” Bette Davis made a great career kicking the dog, as did Bogart, as did Cagney (how about White Heat—is that a great performance or not?). I’m sure the audience identified with Anthony Hopkins in The Silence of the Lambs as much as with Jodie Foster. Otherwise there wouldn’t have been the roar of laughter that greeted the wonderful line “I’m having an old friend for dinner.”

SIDNEY LUMET