A Nonfiction Book Must Have a Dramatic Structure

A nonfiction book, especially if it’s on a complicated subject, must have a dramatic structure. If you’re writing a novel, the author has the advantage over the reader because the reader doesn’t know whether this figure’s going to be a hero or a villain, so you can do what you want with him. But if you’re writing a nonfiction work about famous and important people and about the major events in history, people know how it turned out. They know that Michelangelo was a great painter and that Picasso was going to one of the most famous painters in the world and so on. So the writer has to create what I would call a willing suspension of knowledge and make a drama of the facts of the past.

DANIEL BOORSTIN

The Written Word

Psychoanalysts in France, structuralists in the United States and France, conservative, liberal and left-wing thinkers in contemporary schools of linguistic philosophy agree about one thing: man became man not by the tool but by the Word. It is not walking upright and using a stick to dig for food or strike a blow that makes a human being, it is speech. And neither intelligent apes nor dolphins whispering marvels in the ocean share with us the ability to transform this direct communication into the written word, which sets up an endless chain of communication and commune between peoples and generations who will never meet.

NADINE GORDIMER

Dialect Is Tiring

Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.

ANNE LAMOTT

The First Rule of Cutting

If it should occur to you to cut, do so. That’s the first basic rule of cutting. If you’re reading through and stop, something is wrong. Cut it. If something bothers you, then it’s bad. Cut it. If you can cut inside the speech, you’re really cutting most effectively.

PADDY CHAYEFSKY

Action Is Character

“Action is character.” This is what F. Scott Fitzgerald wrote in his notes while working on his final novel, The Last Tycoon, and he wrote it in caps: ACTION IS CHARACTER. If one of our greatest narrative writers had to remind himself of that right up to the end, it must be pretty important. It is. Human beings are far too complex to explain away in so many words: imperious; timid; pompous; vain; bombastic--and so on.

BLAKE BAILEY

Suspend Judgment

You cannot be judging yourself as you write the first draft—you want to harness that unexpected energy, and you don’t want to limit the possibilities of exploration. You don’t know what you’re writing until it’s done. So if a draft is 500 pages long, you have to suspend judgment for months. It takes effort to be good at suspending judgment, to give the images and story priority over your ideas. But you keep going, casting about for the next sentence. I think there are two kinds of sentences in a rough draft: seeds and pebbles. If it’s a pebble, it’s just the next sentence and it sits there. But if it’s a seed it grows into something that becomes an important part of the life of the novel. The problem is, you can’t know ahead of time whether a sentence will be a seed or a pebble, or how important a seed it’s going to be.

JANE SMILEY

Our Friend, the Semicolon

Sometimes you get a glimpse of a semicolon coming, a few lines farther on, and it is like climbing a steep path through woods and seeing a wooden bench just at a bend in the road ahead, a place where you can expect to sit for a moment, catching your breath.

LEWIS THOMAS

Don't Write Strangers as Strangers

One assignment I give my beginning fiction students is to read James Baldwin’s Giovanni’s Room. There are so many things to learn from that novel. I ask them to write one page to try to imitate Baldwin. Sometimes students realize how hard it is to write just one page of good writing. In Giovanni’s Room, Baldwin has one passage about taking a train ride. I point out to my students that he describes all the strangers as intimate friends. And he describes an intimate lover as a stranger. I think that’s what you want to learn from Baldwin. You don’t write strangers as strangers; you write strangers like your best friend, with that intimate feeling.

YIYUN LI

Sequential Causality

Sequential causality is generally considered to be very important in plotting. It is often thought to be the difference between a simple story, which just presents events as arranged in their time sequence, and a true plot, in which one scene prepares for and leads into and causes the scene that comes after it.

RUST HILLS

Thous Shalt Not Mix Thy Metaphors

Thou shalt see what thou writest; and therefore thou shalt not mix thy metaphors. For a mixed metaphor is proof that the image therein contained has not been seen with the inner eye, and therefore such a metaphor is not a true metaphor, created by the active eye of imagination, but stale jargon idly drawn up from the stagnant sump of commonplace.

HUGH TREVOR-ROPER