Central Truth

There is a kind of central truth and if you get the central truth, and the motion of people, then the rest is implied. Henry James talks about this in The Art of Fiction. He writes about a woman writer he knew who ran up the stairs of a little French house in Paris, and on her way up she passed a room with a door open and inside there was a meeting going on of French Huguenots—this was in the nineteenth century—and they were smoking cigarettes and talking. She was only there for half a minute; she paused and then she went on. Two or three years later she wrote a book about the Huguenots, and everything in it, as Henry James said, was absolutely true. She just went from that one moment. Now, I was very careful not to tell my students to only write about what you know, because I couldn’t define what they knew. That’s where the question really begins. How to define what you know. And what she knew and sensed in that second was everything.

PAULA FOX

We Go with Our Characters

Trollope said, “On the last day of each month recorded, every person in a work of fiction should be a month older than on the first.” We go with our characters wherever they lead us, and as time makes its mark on us, so it must on them.

HALLIE BURNETT

Assurance Counts for More than Literary Skill

The more I read, and write, the more convinced I am that writing has less to do with acquired technique than with inner conviction. The assurance that you have something to say that the world needs to hear counts for more than literary skill. Those writers who hold their readers’ attention are the ones who grab them by the lapel and say, “You’ve got to listen to what I am about to tell you.” It’s hard to be passionate. It means you must put your whole poke on the table. Yet this very go-for-broke quality grabs and holds a reader far more surely than any mastery of technique.

RALPH KEYS

A Hidden Nerve

A hidden nerve is what every writer is ultimately about. It’s what all writers wish to uncover when writing about themselves in this age of the personal memoir. And yet it’s also the first thing every writer learns to sidestep, to disguise, as though the nerve were a deep and shameful secret that needs to be swathed in many sheaths.

ANDRÉ ACIMAN

Writing Allows You to Be Other People

I read a lot of science fiction as a kid. And, of course, that meant reading boys books because that's what kids' science fiction was. I made up my own stories to put myself in them. I wound up writing science fiction from the point of view of girls and women, just because I was a girl and I am a woman. I wound up writing science fiction from the point of view of Black people because I am Black. But I've also explored and I, in a strange sense, I suppose, found out what it might be like to be a white male or whatever. One of the things writing does is, is allow you to be other people without actually being locked up for it.

OCTAVIA BUTLER

Chekhov's Stories

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

Just Write as Well as You Can

The best advice came from my agent, when I was a year or so into my career. I was dithering about a future project, saying that there was a way to do it that would be accessible and commercial, and a way to do it that would be smart but unpopular. He said, “Just write as well as you can.” That advice has saved me years. I never again asked the question, of myself or anyone else. It’s the only way to work—don’t write to what you perceive as a market. Don’t write out of anyone’s need except your own. Don’t try to cater to an audience you think may not be keeping up with you—find the audience who will. I have amplified the advice in my mind: just serve your subject. Each book makes different and fierce demands. Each one uses up all you can do. Later you may be able to do more.

HILARY MANTEL

Everybody Gets Stuck

I’ve found over the years that any momentary change stimulates a fresh burst of mental energy. So if I’m in this room and then I go into the other room, it helps me. If I go outside to the street, it’s a huge help. If I go up and take a shower it’s a big help. So I sometimes take extra showers. I’ll be in the living room and at an impasse and what will help me is to go upstairs and take a shower. It breaks up everything and relaxes me. I go out on my terrace a lot. One of the best things about my apartment is that it’s got a long terrace and I’ve paced it a million times writing movies. It’s such a help to change the atmosphere.

WOODY ALLEN

Pray the Prototypes Don't Sue

The flimsy little protestations that mark the front gate of every novel, the solemn statements that any resemblance to real persons living or dead is entirely coincidental, are fraudulent every time. A writer has no other material to make his people from than the people of his experience.... The only thing the writer can do is to recombine parts, suppress some characteristics and emphasize others, put two or three people into one fictional character, and pray the real-life prototypes won’t sue.

WALLACE STEGNER

It's Performance

I wrote stories from the time I was a little girl, but I didn't want to be a writer. I wanted to be an actress. I didn't realize then that it's the same impulse. It's make-believe. It's performance. The only difference being that a writer can do it all alone. I was struck a few years ago when a friend of ours—an actress—was having dinner here with us and a couple of other writers. It suddenly occurred to me that she was the only person in the room who couldn't plan what she was going to do. She had to wait for someone to ask her, which is a strange way to live.

JOAN DIDION