Artistic Suicide

You will recall the young age, when you realized that you wanted to act or write or paint or dance. You're very young, and everything is a dream waiting to be fulfilled, and everyone who has created something that moved or amused or changed you is a hero, an idol, someone to emulate. Some people never get past this phase, and they will never believe that anyone--no matter how great--is ever as talented or worthy as those childhood idols. This is one form of artistic suicide, and I see it often. You cannot allow your standards to calcify at that tender and impressionable age, set by what you loved in your bedroom when you knew nothing and furiously felt everything. Those loves and influences will be your foundation, the scaffolding upon which you add everything else, but it cannot be the end of your development.

ELIA KAZAN

First Readers

I think writers need tolerant people around them. They’re prickly and strange and needy, yet they demand to be left alone. First readers need to be aware of what they’re being asked; it’s mostly for moral support, but any evidence of close reading and real appreciation is welcome to the wretch who feels she’s walking in the dark—it’s as if someone has switched on a light and said, “This way.”

HILARY MANTEL

The Circle and the Spiral

There’s a difference between the circle and the spiral. We say the Earth has a circular orbit around the sun, but of course it doesn’t. You never come back to the same place, you just come back to the same point on the spiral. That image is very deep in my thinking.

URSULA K. LE GUIN

The Dangerous Thing About a Day Job

The dangerous thing about a day job is that you can very quickly become suspicious that you are not a writer. Because you are a letter carrier. Or a waiter, which I also was for fifteen years. For the longest time, I was a working-class person who thought of herself, privately, as a writer. When I was around my working class colleagues I was ashamed to say I wanted to be a writer, and when I was around writers or artists I was ashamed to say I was a waiter. Now I am a writer who’s ashamed to not know how to make money as a writer.

MERRITT TIERCE

If You're Going to Write, Nothing Will Stop You

I have no patience; I don’t hold with the mute inglorious Miltons. I think if he’s demon-driven with something to be said, then he’s going to write it. He can blame the fact that he’s not turning out work on lots of things. I’ve heard people say, “Well, if I were not married and had children, I would be a writer.” I’ve heard people say, “If I could just stop doing this, I would be a writer.” I don’t believe that. I think if you’re going to write you’re going to write, and nothing will stop you.

WILLIAM FAULKNER

The Serial Comma

If I worked for a publication that did not use the serial comma, I would adjust – convert from orthodox to reform – but for now I remain loyal to the serial comma, because it actually does sometimes prevent ambiguity and because I’ve gotten used to the way it looks. It gives starch to the prose, and can be very effective. If a sentence were a picket fence, the serial commas would be posts at regular intervals.

MARY NORRIS

Take That Image with You

I tell my students, your brain is probably telling you something important. It’s saying you’re not ready. Take that image with you. Go on a walk and live your life and maybe something about your life. You pay attention to it, can show you how to write that thing. Don’t fight it. So much of our culture is bent on fighting David and Goliath, wrestling the muse. We look at creation as a battleground. And I think it’s one of the greatest detriments to creativity is to see ourselves as participants in a war when it should be participants in creation.

OCEAN VUONG

Writing for the Stage vs. Writing for Television

The difference between writing for stage and for television is almost an optical one. Language on the stage has to be slightly larger than life because it is being heard in a much larger space. Plot counts for less on the television screen because one is seeing the characters at closer quarters than in the theatre. The shape and plot of a stage play count for more in consequence of the distance between the audience and the action. A theatre audience has a perspective on a play as a television audience does not. The audience in a theatre is an entity as a television audience is not. On television the playwright is conversing. In the theatre he is (even when conversing) addressing a meeting. The stage aspires to the condition of art as television seldom does (which is not to say that it shouldn’t). The most that can be said for these plays in that respect is that occasionally they stray into literature.

ALAN BENNETT

Penetrate the Story

The task is not primarily to have a story, but to penetrate the story, to discard the elements of it that are merely shell, or husk, that give apparent form to the story, but actually obscure the essence. In other words, the problem is to transcend the givens of a narrative.

DEBORAH EISENBERG

Look for the Hot-Spots

I finish them all. This comes out of some kind of professional pride. I finish even if I know or strongly suspect a story is crap. You’ve got to get it done and see what you’ve got. Put it in a drawer for a few weeks—this cliché is true—and then take it out again, rub your hand over the material and look for the hot-spots. By a hot-spot I mean merely the good stuff, the true stuff. Actually, it’s what you tend to wriggle away from on the page. The stuff that makes you feel uncomfortable or shameful in some way. The stuff that embarrasses you, that isn’t trying to sound like, you know, a piece of cool prose. The stuff that comes from deep within you and mortifies you. These are the hot-spots. They make a story come alive.

KEVIN BARRY