We Still Reach for Myth

Margaret Atwood said once that human nature hasn’t changed in a thousand years, and the way you know this is to check the mythologies. I agree. I think that we reach for the fantastical sometimes to explain things that we can’t explain in the real world. For Tolkien and C. S. Lewis, only the fantastical could explain the type of horror that they witnessed in World War I. We still reach for allegory, we still reach for myth, we still reach for tall tales in order to understand ourselves.
MARLON JAMES

Don't Become a Poet

Be wary of becoming a poet. Be wary of becoming anything. I mean: you want to become a surgeon. Or, I should say, you want your surgeon to have become a surgeon! But don’t become a poet. You’ll never get there. Just get started. Each morning, make a little progress. Send out a little prayer. Take note of something. Try to be facing in the direction of the surprise.

CARRIE FOUNTAIN

The Illusion of Art

Art must take reality by surprise. It takes those moments which are for us merely a moment, plus a moment, plus another moment, and arbitrarily transforms them into a special series of moments held together by a major emotion. Art should not, it seems to me, pose the “real” as a preoccupation. Nothing is more unreal than certain so-called “realist” novels—they’re nightmares. It is possible to achieve in a novel a certain sensory truth—the true feeling of a character—that is all. Of course the illusion of art is to make one believe that great literature is very close to life, but exactly the opposite is true. Life is amorphous, literature is formal.

FRANÇOISE SAGAN

The Road to Hell Is Paved with Adverbs

I believe the road to hell is paved with adverbs, and I will shout it from the rooftops. To put it another way, they’re like dandelions. If you have one on your lawn, it looks pretty and unique. If you fail to root it out, however, you find five the next day…fifty the day after that…and then, my brothers and sisters, your lawn is totally, completely, and profligately covered with dandelions. By then you see them for the weeds they really are, but by then it’s—GASP!!—too late. "I can be a good sport about adverbs, though. Yes I can. With one exception: dialogue attribution. I insist that you use the adverb in dialogue attribution only in the rarest and most special of occasions...and not even then, if you can avoid it. 

STEPHEN KING

Keep at It

So much of it is luck. Dumb fucking luck. There is so much talent out there—in every area—and it can't get a set of eyes [to see it] or ears to hear it because it hasn't gotten into a magical circle yet. The magical circle of the right plays with the right directors with the right agents with the right reviews. No one escapes this; no one ever did. What I would like to do—and what we should all do, including you with your writing and recounting—is to persuade those with dreams and talent to keep at it, despite the odds and despite the fact that the luck hasn't noticed them yet. You have to believe that it will, and what you and I have to do is make some noise and wave some flags so that luck looks over and finally notices the mendicant that has kept up the work.

ARTHUR PENN

Creative Procrastination

I think procrastination can be a really helpful creative tool. So when I procrastinate, I try to do it with intention. I’m like, “For the next hour and a half, I’m going to procrastinate.” I think my writing tends to be stronger after that because I’m giving myself the time and the space to ideate and create. When I procrastinate, it’s a lot of going on social media — I love a good meme, so [I’ll look at] Saint Hoax, for example — maybe binge-watching some show or spending time watching funny dog videos on YouTube.

AMANDA GORMAN

Clarity First

Thou shalt aim always at clarity of exposition, to which all other literary aims shall be subordinated, remembering the words of the prophet commandant Black, "clarté prime, longueur secondaire." To this end thou shalt strive that no sentence be syntactically capable of any unintended meaning, and that no reader be obliged to read any sentence twice to be sure of its true meaning. To this end also thou shalt not fear to repeat thyself, if clarity require it, nor to state facts which thou thinkest as well known to others as to thyself; for it is better to remind the learned than to leave the unlearned in perplexity.

HUGH TREVOR-ROPER

If It Ain't Broke...

Any small room with no natural light will do. As for when, I have no particular schedules... afternoons are best, but I’m too lethargic for any real regime. When I’m in the flow of something I can do a regular 9 to 5; when I don’t know where I’m going with an idea, I’m lucky if I do two hours of productive work. There is nothing more off-putting to a would-be novelist to hear about how so-and-so wakes up at four in the a.m, walks the dog, drinks three liters of black coffee and then writes 3,000 words a day, or that some other asshole only works half an hour every two weeks, does fifty press-ups and stands on his head before and after the "creative moment." I remember reading that kind of stuff in profiles…and becoming convinced everything I was doing was wrong. What’s the American phrase? If it ain’t broke....

ZADIE SMITH

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

Be Concise

Be concise; try expressing your thoughts with the least possible number of words, avoiding long sentences—or sentences interrupted by incidental phrases that always confuse the casual reader—in order to avoid contributing to the general pollution of information, which is surely (particularly when it is uselessly ripe with unnecessary explanations, or at least non indispensable specifications) one of the tragedies of our media-dominated time.

UMBERTO ECO