Great fiction shows us not how to conduct our behavior but how to feel. Eventually, it may show us how to face our feelings and face our actions and to have new inklings about what they mean. A good novel of any year can initiate us into our own new experience.
EUDORA WELTY
Of course, as a novelist, I never want to write about “issues” like “the Indian family.” What I want to write about is the air we breathe. These days, I feel that novels, I don’t know for what reason—maybe because of the speed and the way that books have to be sold—these days, novels are becoming kind of domesticated, you know? They have a title, and a team, and they are branded just like NGOs: you writing on gender, you writing on caste, you writing on whatever. But for me, the fact is that these are not “issues”—this is the air we breathe.
ARUNDHATI ROY
When people talk listen completely. Don’t be thinking what you’re going to say. Most people never listen. Nor do they observe. You should be able to go into a room and when you come out know everything that you saw there and not only that. If that room gave you any feeling you should know exactly what it was that gave you that feeling. Try that for practice. When you’re in town stand outside the theatre and see how the people differ in the way they get out of taxis or motor cars. There are a thousand ways to practice. And always think of other people.
ERNEST HEMINGWAY
I hate to say this, but...sometimes the first draft is best. I don’t mean the first draft of a whole thing, but sometimes the first version of a moment or a scene, or even a line of dialogue, is the best one. And sometimes the twentieth or fiftieth is the best one. It’s really weird and hard to account for.
COURTNEY BALESTIER
It’s really more of a worry. I’m thinking, “Oh God, I hope somebody likes this.” As opposed to deliberately setting out to do it, I hope it happens. I write it with wishful thinking. But most of the time, though, I’m really just trying to write a good story. And I’m trying to write it as if I’m reading it. So, if something in my novel ends up being a surprise to somebody, it was a surprise to me when I wrote it. To me, it comes down to something that simple—I hope that they just enjoy it.
MARLON JAMES
When you sit down to write…you think, ah, yes, the entire world and all its strange nuances, and subtleties, and inexpressibilities are about to surge through my arm into the pencil I’m holding. And then you look down at what you’ve written and it’s something like, And so he walked to the grocery store…. That feeling of the richness of the world and the poverty of your means of expression is one of the inescapable features of writing fiction. One finds that one’s thought is much more conventionalized than one would have guessed.
DEBORAH EISENBERG
A simple and straightforward structure will do. Structure is one of those craft decisions that unfortunately one cannot avoid when writing a novel. Some novels may be remembered for their ingenious structures, but a novel does not have to have an ingenious structure to be great. A simple structure will do just fine. For instance, War and Peace has the most straightforward structure: the novel alternates between war (characters in the military settings) and peace (characters in the civilian settings). A complex book doesn’t have to have a complicated structure.
YIYUN LI
You can pick up a volume of Chekhov’s stories and open it anywhere, and, no matter how well or poorly the Russian has been translated, you will probably have a hard time finding a sentence you can’t understand. This is because, as much as any other writer and more than most, Chekhov put such a premium on writing comprehensibly, without flowery language or unnecessary adornment.
FRANCINE PROSE
I can count on one hand, or possibly one elbow, the number of good writing ideas I’ve had while straining at the keyboard. When you find yourself stumped, when a character seems to want to do this but the story seems to demand that she do that, it’s time to go for a walk. The answer will pop up into your mind so unexpectedly that you will very likely not be carrying a pen.
BEN DOLNICK
I had a wonderful teacher, Irwin Blacker, and he was feared by everyone at the school because he took a very interesting position. He gave you the screenplay form, which I hated so much, and if you made one mistake on the form, you flunked the class. His attitude was that the least you can learn is the form. “I can’t grade you on the content. I can’t tell you whether this is a better story for you to write than that, you know? And I can’t teach you how to write the content, but I can certainly demand that you do it in the proper form.” He never talked about character arcs or anything like that; he simply talked about telling a good yarn, telling a good story. He said, “Do whatever you need to do. Be as radical and as outrageous as you can be. Take any kind of approach you want to take. Feel free to flash back, feel free to flash forward, feel free to flash back in the middle of a flashback. Feel free to use narration, all the tools are there for you to use.”
JOHN MILIUS
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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