Use all your seasoning sparingly. Do not worry about making your characters shout, intone, exclaim, remark, shriek, reason, holler, or any such thing, unless they are doing it for a reason. All remarks can be said. Every time you use a fancy word your reader is going to turn his head to look at it going by and sometimes he may not turn his head back again.
SHIRLEY JACKSON
Plot means that every notable event is conditioned on previous events. Start with the novel’s climax (often the first thing you know about it, its most striking moment) and work backward, asking why-why-why. Then write forward. With proper buildup, a scene that means little in isolation can become as significant to readers as it is to you. Your plot will of course reveal character through conflict, but novel readers are super nosy, so be sure to work out some characters’ personalities in detail.
NELL ZINK
You need that pride in yourself, as well as a sense, when you are sitting on Page 297 of a book, that the book is going to be read, that somebody is going to care. You can’t ever be sure about that, but you need the sense that it’s important, that it’s not typing; it’s writing.
ROGER KAHN
Going into the writing I like to cultivate a particular juncture between knowing and not knowing — having all the facts but remaining uncertain how they fit together. It’s a delicate balance, because if you know too little what you write will be halting and opaque, and if you know too much it will be dead on the page, a mere transcription after the fact. In any case, whatever ideas and speculations may occupy the writer’s head, writing does not begin with an idea; it begins with a sentence. What occurs in your mind is a great swirling mass of half-formed notions, which are interwoven with worries, memories, songs, and emotions; the signal-to-noise ratio is overwhelming. Putting the thought in writing crystalizes it and gives it life.
LUC SANTE
Don’t overcrowd the narrative. Characters should be individualized, but functional – like figures in a painting. Think of Hieronymus Bosch’s Christ Mocked, in which a patiently suffering Jesus is closely surrounded by four threatening men. Each of the characters is unique, and yet each represents a type; and collectively they form a narrative that is all the more powerful for being so tightly and so economically constructed.
SARAH WATERS
I think humans are the most interesting thing I know about. They’re inexhaustibly interesting. And I think one of the great beauties of the novel as a form is that it shows us that human nature is the great constant. Human nature is the same in all places, in all times, in all languages. And that makes it the great subject of any writer’s life, just to try and explore this vast ocean of human beings.
SALMAN RUSHDIE
I’m a full-time believer in writing habits, pedestrian as it all may sound. You may be able to do without them if you have genius but most of us only have talent and this is simply something that has to be assisted all the time by physical and mental habits or it dries up and blows away. I see it happen all the time. Of course you have to make your habits in this conform to what you can do. I write only about two hours every day because that’s all the energy I have, but I don’t let anything interfere with those two hours, at the same time and the same place. This doesn’t mean I produce much out of the two hours. Sometimes I work for months and have to throw everything away, but I don’t think any of that was time wasted. Something goes on that makes it easier when it does come well. And the fact is if you don’t sit there every day, the day it would come well, you won’t be sitting there.
FLANNERY O’CONNOR
This credo I hereby affirm. I will never say marginalize or use privilege as a verb. I will avoid closure except perhaps when discussing the endings of poems. I will avoid gnostic altogether. I will not say societal and comedic where social and comic will serve just as well. I will not say hegemony except with irony. I will not put nestled, cradled, or shimmered in poems, and I will stop reading any poem that has cupped in it, or scrim, sure signs of poetical intent. I will not split infinitives if I can help it. I will use correct grammar, but I will feel free to leave out punctuation marks when it suits my purposes in a poem. I will welcome new oxymorons, as when a friend complains that she has “an ancient computer.” I will allow no-brainer and Prozac and feng shui into my poetry, not to mention the Net, the Web, the Windows software that came with the box, my laptop, my desktop, my ergonomic workstation, the bad case of carpal tunnel syndrome I suffered a few years ago, and other things that would have made no sense to anyone thirty years ago. I will love the language as a living thing that never stops evolving.
DAVID LEHMAN
When describing nature, a writer should seize upon small details, arranging them so that the reader will see an image in his mind after he closes his eyes. For instance: you will capture the truth of a moonlit night if you’ll write that a gleam like starlight shone from the pieces of a broken bottle, and then the dark, plump shadow of a dog or wolf appeared. You will bring life to nature only if you don’t shrink from similes that liken its activities to those of humankind.
ANTON CHEKHOV
The writer must never attempt to impose himself upon his subject. He must not try to mold it according to what he believes his readers or editors want to read. His initial task is to come to know his subject intimately, to understand its every aspect, to let it fill his mind. Then at some turning point the subject takes command and the true act of creation begins…. The discipline of the writer is to learn to be still and listen to what his subject has to tell him.
RACHEL CARSON
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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