Total Knowledge Is Impossible

Each novel I’ve written, any novel anyone writes, it’s not that you sit down saying “I believe this, and now I will write this,” but by the nature of your sentences, just by the things that you emphasize or that you don’t emphasize, you’re constantly expressing a belief about the way you think the world is, about the things that you think are important, and those things change. They do change. And the form of the novel changes as well. A very simple example is in a lot of my fiction I’ve delved very deeply into people’s heads, into their consciousness and tried to take out every detail, and the older I get and the more that I meet people and realize I don’t know them. My own husband is a stranger to me, really, fundamentally at the end you don’t know these people. That should be reflected in what you write, that total knowledge is impossible.

ZADIE SMITH

Dialogue Is Not Conversation

Young writers often confuse dialogue with conversation, under the assumption that the closer you get to reality, the more convincing you sound. But dialogue is not conversation. Dialogue is a construct; it is artificial; it is much more efficient and believable than real conversation. Just as fiction itself distorts reality in order to achieve a larger truth, so dialogue eliminates all the false starts and irrelevant intrusions of real life in order to reveal character and move the encounter toward a dramatic conclusion.

JOHN L’HEUREUX

Success and Happiness

What about being “happy”? Don’t be silly! A lot of successful people are unhappy. And a lot of happy people aren’t successful. I’m “successful,” and I’m confused, terrified, insecure, and foul all the time. Success and happiness live on different sides of the tracks.

JERRY SALTZ

Click Off the Lights

I have noticed that when all the lights are on, people tend to talk about what they are doing – their outer lives. Sitting round in candlelight or firelight, people start to talk about how they are feeling – their inner lives. They speak subjectively, they argue less, there are longer pauses. To sit alone without any electric light is curiously creative. I have my best ideas at dawn or at nightfall, but not if I switch on the lights – then I start thinking about projects, deadlines, demands, and the shadows and shapes of the house become objects, not suggestions, things that need to done, not a background to thought.

JEANETTE WINTERSON

It's Never Too Late

Writing is not like dancing or modeling; it’s not something where—if you missed it by age 19—you’re finished. It’s never too late. Your writing will only get better as you get older and wiser. If you write something beautiful and important, and the right person somehow discovers it, they will clear room for you on the bookshelves of the world—at any age. At least try.

ELIZABETH GILBERT

Set It Up in the Beginning

Generally speaking, if you don’t set everything up in the beginning, you’ll pay for it, in the middle or in the end. So I would rather pay for it at the beginning. It’s not television and they’re not going to go off into the icebox, or they’re not going to change channels. An audience in a movie will forgive you for just about anything for the first ten minutes or so. But really nothing at the end.

ROBERT TOWNE

The Inner Critic

It’s not good to think very critically when you’re trying to write. Any sentence could be stifled by the critic in one if you allow him to get the upper hand. But, by and large, keeping in mind that I am a little wary of the critic in me, I think once you start trying to put images and words of dialogue together, in some way the imaginary world takes over and somehow shuts out all the harassing critical thoughts that you might otherwise entertain.

JOHN UPDIKE

Two Ways of Looking at Writing

There are two ways of looking at writing. One way is that you’re telling a story transparently. The other is that you’re telling a story with language, and language is the point. How fast do you want your story to read? If it reads too fast then it might be superficial. A person reads it in five minutes, it’s all over.

JOYCE CAROL OATES

Any Experience that Touches You Is Good

Any experience that touches you, in any particular way, is good. It can be a horrible experience. I saw a car crash when I was fifteen here in Los Angeles and five people died as a result of it. I arrived at the scene within twenty seconds of hearing the collision. It was the worst mistake I ever made in my life. I didn’t know what I was running into. People had been horribly mangled and decapitated. So for months after, I was shaken. It’s probably the reason I never learned to drive. I was terrified of automobiles for a long time after that but I turned it into a short story called “The Crowd” six or seven years later….  So out of this horror—this really terrible event—you take something that has taught you a certain kind of fear and you pass on to others and say, “This is what the car can do.”

RAY BRADBURY

Writing About Sex

Writing about sex is kind of like writing about music. It’s a thing that isn’t about words, really, and doesn’t lend itself to verbal descriptions. When I’m writing sex scenes, I don’t ever think about how the scene is going to unfold. I just put myself there with the people, and they do what they do. I don’t think people ever know why anything is erotic. I don’t think we need to know. People often know what they like, although if they’re lucky they might be surprised. But I do think it’s mysterious.

MARY GAITSKILL