Reliable Versus Unreliable Narrator

I’ve always found the concept of the reliable versus the unreliable narrator peculiar, because I think all narrators are unreliable [laughs]. People tell you what they saw or what they think or what they felt, and they may be telling you the truth, but it might not at all be what someone else saw happen. Like, people always call Humbert Humbert an unreliable narrator. He’s very reliable. He’ll tell you exactly what he thought and felt in a lot of detail. And you also get a very clear sense of what Lolita is experiencing through him. But I don’t think of it as unreliable. I think more in terms, and this sounds really corny, I think more in terms of, Do I care what this narrator thinks and feels? Can he engage me? With students, the problem I see most often is that I don’t get a sense of what their narrators care about. What they want. What matters to them. That’s a bigger issue to me than whether or not they’re reliable in some way.

MARY GAITSKILL

Aim for the Stars

Go for broke. Always try and do too much. Dispense with safety nets. Take a deep breath before you begin talking. Aim for the stars. Keep grinning. Be bloody-minded. Argue with the world. And never forget that writing is as close as we get to keeping a hold on the thousand and one things—childhood, certainties, cities, doubts, dreams, instants, phrases, parents, loves—that go on slipping, like sand, through our fingers.

SALMAN RUSHDIE

Fine Writing Isn't Enough

Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

SARAH WATERS

Flyshit on the Typescript

I suppose this is a trivial matter but I do want to object to the maddening fuss-fidget punctuation which one of your editors is attempting to impose on my story. I said it before but I’ll say it again, that unless necessary for clarity of meaning I would prefer a minimum of goddamn commas, hyphens, apostrophes, quotation marks and fucking (most obscene of all punctuation marks) semi-colons. I’ve had to waste hours erasing that storm of flyshit on the typescript.

EDWARD ABBEY

Keep Writing

The very nicest thing about being a writer is that you can afford to indulge yourself endlessly with oddness, and nobody can really do anything about it, as long as you keep writing and kind of using it up, as it were.... All you have to do—and watch this carefully, please—is keep writing. As long as you write it away regularly, nothing can really hurt you.

SHIRLEY JACKSON

Experience

Novel-writing is a highly skilled and laborious trade. One does not just sit behind a screen jotting down other people’s conversation. One has for one’s raw material every single thing one has ever seen or heard or felt, and one has to go over that vast, smoldering rubbish-heap of experience, half stifled by fumes and dust, scraping and delving until one finds a few discarded valuables. Then one has to assemble these tarnished and dented fragments, polish them, set them in order, and try to make a coherent and significant arrangement of them.

EVELYN WAUGH

Bad Dialogue

Nothing can break the mood of a piece of writing like bad dialogue. My students are miserable when they are reading an otherwise terrific story to the class and then hit a patch of dialogue that is so purple and expositional that it reads like something from a childhood play by the Gabor sisters. ... I can see the surprise on my students' faces, because the dialogue looked okay on paper, yet now it sounds as if it were poorly translated from their native Hindi.

ANNE LAMOTT

Three Characteristics a Work of Fiction Must Possess

[The] three characteristics a work of fiction must possess in order to be successful:

1. It must have a precise and suspenseful plot. 

2. The author must feel a passionate urge to write it.

3. He must have the conviction, or at least the illusion, that he is the only one who can handle this particular theme.

ISAAC BASHEVIS SINGER

Readers Are More Sophisticated Than Critics

Readers, I think, are more sophisticated on the whole than critics. They can make the jumps, they can make imaginative leaps. If your structure is firm and solid enough, however strange, however unusual, they will be able to follow it. They will climb with you to the most unlikely places if they trust you, if the words give them the right footholds, the right handholds. That’s what I want my readers to do: I want them to come with me when we’re going mountain-climbing. This isn’t a walk through a theme park. This is some dangerous place that neither of us has been before, and I hope that by traveling there first, I can encourage the reader to come with me and that we will make the trip again together, and safely. 

JEANETTE WINTERSON 

Two Kinds of Editors

There are, it seems, two kinds of editors. The first kind cares mainly about himself, about how his editing performance reflects on him and getting ahead or getting stroked or getting to lunch, as the case may be. Such editors are not editors at all and ought to go to breakfast and stay there. A real editor, however, is a rare thing, and I've been lucky in working with a few. A real editor is focused totally on the writer's work and helping the writer realize a vision of the piece or the book he's set out to do. Editing requires a certain selflessness that is hard to find.

DAVID REMNICK