I think the best endings bring you back in, rather than close things off with absolute finality. I’m not saying they necessarily have to be ambiguous, but we don’t always need to know what happens when everyone wakes up tomorrow morning.… When I start a story, I don’t know what the ending will be in advance. I very much believe in working organically—that is, I don’t know what the story will be or what’s going to happen.
T.C. BOYLE
Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire. The emotion derives from a double contact: on the one hand, a whole activity of discourse discreetly, indirectly focuses upon a single signified, which is "I desire you," and releases, nourishes, ramifies it to the point of explosion (language experiences orgasm upon touching itself); on the other hand, I enwrap the other in my words, I caress, brush against, talk up this contact, I extend myself to make the commentary to which I submit the relation endure.
ROLAND BARTHES
Art…is never the voice of a country; it is an even more precious thing, the voice of the individual, doing its best to speak, not comfort of any sort, but truth. And the art that speaks it most unmistakably, most directly, most variously, most fully, is fiction; in particular, the novel.
EUDORA WELTY
Humor is laughing at what you haven’t got when you ought to have it. Of course, you laugh by proxy. You’re really laughing at the other guy’s lacks, not your own. That’s what makes it funny—the fact that you don’t know you are laughing at yourself. Humor is when the joke is on you but hits the other fellow first—before it boomerangs. Humor is what you wish in your secret heart were not funny, but it is, and you must laugh. Humor is your own unconscious therapy.... Like a welcome summer rain, humor may suddenly cleanse and cool the earth, the air, and you.
LANGSTON HUGHES
Writing advice is neither good nor bad. It just is. It either works for you or it doesn’t. No one piece of advice is truly golden (with the exception of maybe ‘Finish your shit’ and ‘Don’t be a dick’) — it’s all just that. Advice. It’s no better or worse than someone telling you what route to take to get to the zoo or what shirt to wear to that trailer park wedding. Like with every tool, pick it up, test its heft, give it a whirl. It works? Keep it. It fails? Fucking ditch it. Give writing advice no more importance than it is due.
CHUCK WENDIG
Action is hope. At the end of each day, when you’ve done your work, you lie there and think, Well, I’ll be damned, I did this today. It doesn’t matter how good it is, or how bad—you did it. At the end of the week you’ll have a certain amount of accumulation. At the end of a year, you look back and say, I’ll be damned, it’s been a good year.
RAY BRADBURY
Bad books sell; people have bad taste. Bad books don’t sell; people prefer great books. Great books sell; after all, they are great. Great books don’t sell; they are too great to be understood. Great books sell only after their authors die. We’re comfortable with all of these clichés even though they can’t logically coexist.
SARAH MANGUSO
Writing is a monstrous act because it implies a metamorphosis. Writing, to me, is an attempt at becoming someone else. Every novel is a long way of tracing an x, of crossing myself out. I don’t want to be on the page. I want someone else to be there—someone else to “happen.” Still, despite my best efforts, I always remain, deformed and disfigured. The final paradox, of course, is that I am the one striking myself out. And isn’t this duality also quite monstrous?
HERNAN DIAZ
This is something that the novel does better than any other art form: reproducing the inner life and the inner experience of another person, particularly extreme forms of consciousness like grief, dreams, drunkenness, spiritual revelations, even insanity. Unlike movies, where we’re always onlookers, in novels we have the experience of being someone else: knowing another person’s soul from the inside. No other art form does that.
DONNA TARTT
Creativity is paradoxical. To create, a person must have knowledge but forget the knowledge, must see unexpected connections in things but not have a mental disorder, must work hard but spend time doing nothing as information incubates, must create many ideas yet most of them are useless, must look at the same thing as everyone else, yet see something different, must desire success but embrace failure, must be persistent but not stubborn, and must listen to experts but know how to disregard them.
MICHAEL MICHALKO
Writerly wisdom of the ages collected by the author of Advice To Writers, The Big Book of Irony, and The Portable Curmudgeon.
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