The Bullshit Never Ends

Starting with a small press was the best thing that happened to me, and I do not doubt I will publish with similar places at different points in the future. Being at a place like FSG, or publishing in The Paris Review, is also wonderful. These are relatively new developments. I spent a good deal of time being rejected by everybody everywhere. Still do. The bullshit never ends. That’s the main thing to remember. It never ends. The assholes are stronger in most ways. So you have to ignore them and just write and let that be the meaning of it all. If you publish at a small place or a large one, great. If you make some dough at, without messing with your work in ways that make you uneasy, great. But the meaning of it all is whatever happened when you were writing, and then the power of what you made. Those are the things that matter.

SAM LIPSYTE

The World Needs You

The world needs you. There is large work to be done, good work, and you can make a difference. Whatever your life work, take it seriously and enjoy it. Let’s never be the kind of people who do things lukewarmly. If you’re going to ring the bell, give the rope one hell of a pull. I wish you the fullest lives possible—full of love and bells ringing.

DAVID McCULLOUGH

Great Fiction Shows Us How to Feel

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

The Air We Breathe

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

A Thousand Ways to Practice

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

Sometimes the First Draft Is Best

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

Hope They Enjoy It

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

The Poverty of Your Expression

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 Structure Will Do

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

Chekhov's Prose

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