Bad Prose

Bad prose is everywhere, and no impediment to popularity. Most readers don’t mind. I wish I didn’t mind, but I do. No matter how compelling the plot, I struggle to get through schlocky writing. Same goes for podcast narration. If you introduce a character by saying, “Mallorie was a successful chiropractor who finished top of her class at Michigan. Brilliant and beautiful, she had it all — except for the perfect guy,” I’m just out, I don’t care what great twists you have in store, this is not a ride I will be taking.

PATRICK RADDEN KEEFE

Poetic Memory

My oldest childhood memories have the flavor of the earth. The meadows, the fields, have done wonders for me. The wild animals…the livestock, the people living on the land, all these are suggestive in a way that very few people understand.… Shepherds, fields, sky, solitude.… This is poetic memory, and I trust it implicitly.

FEDERICO GARCÍA LORCA

Trusted Collaborators

I really like having a community of trusted collaborators who can help me figure out very early whether material is alive and whether I’m making any egregious mistakes. There is tremendous solitude around writing, and I like that. Most people who write seriously tend to be pretty solitary people. But that does not mean that I can work in isolation and know if what I’m doing is good. I need a community to help me understand what’s working and what isn’t, and I really encourage people to try to find that.

JENNIFER EGAN

Tell It Straight

I learned a lot from James Joyce and Erskine Caldwell and of course from Hemingway … [but the] tricks you need to transform something which appears fantastic, unbelievable, into something plausible, credible, those I learned from journalism. The key is to tell it straight. It is done by reporters and by country folk.

GABRIEL GARCÍA MÁRQUEZ

You're an Entrepreneur

Being a writer means you are running a small business, manufacturing sentences, and you are the owner of the business, and the foreman of the factory, and the guy working on the production line, and the person driving the truck to deliver the sentences to your customers. You run the show (net positive) and you take your lumps when things go wrong (net negative). You have freedom (the perks of owning your own business) but you only have yourself to depend on. You are an entrepreneur. There is no benevolent boss in a room somewhere who will make sure you’re always okay.

SUSAN ORLEAN

Characters That Read Like People

A character is never a whole person, but just those parts of him that fit the story or the piece of writing. So the act of selection is the writer's first step in delineating character. From what does he select? From a whole mass of what Bernard DeVoto used to call, somewhat clinically, "placental material." He must know an enormous amount more about each of his characters than he will ever use directly--childhood, family background, religion, schooling, health, wealth, sexuality, reading, tastes, hobbies--an endless questionnaire for the writer to fill out. For example, the writer knows that people speak, and therefore his characters will describe themselves indirectly when they talk. Clothing is a means of characterization. In short, each character has a style of his own in everything he does. These need not all be listed, but the writer should have a sure grasp of them. If he has, his characters will, within the book, read like people.

WILLIAM SLOANE

If Only...

At every stage of writing a book, there is a sense of If only … If only I could find the time to write and if only I could figure out the third chapter and if only I could get my book finished. If only I could find an agent. If only some editor would buy my book. If only I could get a good publicist. If only the book would get reviewed. If only they would do more promotion. If only it would sell. It goes on like this forever, until you’re ready to start another book and kick off the cycle all over again.

ANN PATCHETT

Writing Is Immensely Difficult, The Short Forms Especially

I had to write to the teacher when one of my children missed a day of school. It was my daughter, Caroline, who was then in the second or third grade. I was having my breakfast one morning when she appeared with her lunch box, her rain slicker, and everything, and she said, “I need an absence note for the teacher and the bus is coming in a few minutes.” She gave me a pad and a pencil; even as a child she was very thoughtful. So I wrote down the date and I started, Dear Mrs. So-and-so, my daughter Caroline…and then I thought, No, that’s not right, obviously it’s my daughter Caroline. I tore that sheet off, and started again. Yesterday, my child . . . No, that wasn’t right either. Too much like a deposition. This went on until I heard a horn blowing outside. The child was in a state of panic. There was a pile of crumpled pages on the floor, and my wife was saying, “I can’t believe this. I can’t believe this.” She took the pad and pencil and dashed something off. I had been trying to write the perfect absence note. It was a very illuminating experience. Writing is immensely difficult. The short forms especially.

E.L. DOCTOROW

Stories We Can Learn From

When a female character sets herself on fire in an effort to interrupt her culture's violent abuse of disenfranchised people, or physically tortures and punishes her guardian rapist, or picks up a gun and fights back in ways that make her not pretty, or aggressively rejects her role as the object of desire, or even when she waddles off into the woods to squat and have a baby without the safety and expertise of hospitals and doctors, these are the kinds of violences and stories we can learn from.

LIDIA YUKNAVITCH

Three Loves Scenes and a Happy Ending

A big-time Hollywood guy said, “OK, we want to buy your next book right now sight unseen.” I sent the manuscript, what I had, and this studio honcho read the first draft of an incomplete manuscript and wasn’t too crazy about it. Which really pissed me off. Suddenly this guy’s a literary critic? He sent a faxed note, I believe, to my agent at the time and said, “We can’t buy this book for a movie unless Grisham will promise three love scenes and a happy ending.” If I ever write a Hollywood tell-all, that’s the title of my book: Three Love Scenes and a Happy Ending.

JOHN GRISHAM