How to Write Coincidence

One way to use coincidence and make it work is to have nothing turn on it. Coincidences feel illegitimate when they solve problems. If the story doesn’t benefit from the coincidence, it’s simply pretty and suggestive. Another way to make a coincidence work is to begin a story with it. Make it the reason there’s a story to tell in the first place. A third is to establish that the community in which your story takes place is one in which coincidence is part of the landscape. People in my town, New Haven, Connecticut, revel in coincidence, and we claim it happens here all the time: you know everyone in more than one way. Maybe this is true in all cities of a certain size—small enough that the barista will turn out to be your office mate’s daughter; large enough that you’ll be surprised.

ALICE MATTISON

Write What You Would Read

The most important thing is you can’t write what you wouldn’t read for pleasure. It’s a mistake to analyze the market thinking you can write whatever is hot. You can’t say you’re going to write romance when you don’t even like it. You need to write what you would read if you expect anybody else to read it.
 And you have to be driven. You have to have the three D’s: drive, discipline and desire. If you’re missing any one of those three, you can have all the talent in the world, but it’s going to be really hard to get anything done.

NORA ROBERTS 

The Highest Kind of Writing

The highest kind of writing—which must not be confused with the most ambitious kind…belongs to the realm of grace. Talent is part of it, certainly; a thorough understanding of the secret laws, absolutely. But finding the subject and theme which is in perfect harmony with your deepest nature, your forgotten selves, your hidden dreams, and the full unresonated essence of your life—now that cannot be reached through searching, nor can it be stumbled upon through ambition. That sort of serendipity comes upon you on a lucky day. It may emerge even out of misfortune or defeat. You may happen upon it without realizing that this is the work through which your whole life will sing. We should always be ready. We should always be humble. Creativity should always be a form of prayer.

BEN OKRI

Funny Thing About Words

Funny thing about words. Regarded individually or encountered in newspapers or books (written by other people), they are as lovely and blameless as talcum-sweet babies. String them together into a sentence of your own, however, and these cooing infants become a savage gang straight out of Lord of the Flies. A sullen coven with neither conscience nor allegiance. It will take the civilizing influence of repeated revision to whip them into shape, an exhausting prospect.

DAVID RAKOFF

See Enough and Write It Down

See enough and write it down, I tell myself, and then some morning when the world seems drained of wonder, some day when I am only going through the motions of doing what I am supposed to do on that bankrupt morning I will simply open my notebook and there it will all be, a forgotten account with accumulated interest, paid passage back to the world out there.

JOAN DIDION

Memoirists Must Show and Tell

Memoir is the intersection of narration and reflection, of storytelling and essay writing. It can present its story and consider the meaning of the story. The first commandment of fiction—Show, Don’t Tell—is not part of the memoirist’s faith. Memoirists must show and tell.

PATRICIA HAMPL

Write About Things that Surprise You

Writing should be pleasurable, it should be fun, it should be exploratory. You should be writing about things that surprise you. That is the instinct for all kinds of art. All you need to do, really, is to take that instinct and transform it into craft.

JOYCE CAROL OATES

Five Common Traits of Good Writers

(1) They have something to say.

(2) They read widely and have done so since childhood.

(3) They possess what Isaac Asimov calls a “capacity for clear thought,” able to go from point to point in an orderly sequence, an A to Z approach.

(4) They’re geniuses at putting their emotions into words.

(5) They possess an insatiable curiosity, constantly asking Why and How.

JAMES J. KILPATRICK

A Story Is a Black Box

My go-to model for my stories – a model that actually helps me write them – is that a story is a black box, into which the reader goes, and something happens. Something big and breathtaking and non-trivial. I don’t have to know what that thing is beforehand – it’s going to reveal itself to me at speed and I don’t need to be able to pithily reduce it. I just have to micro-manage the machinery inside the box so as to maximize the various effects – to sharpen the curves, so to speak. Now, mysteriously, thinking of stories this way does tend to produce themes and ethical resonance and all of that – how, I don’t know. But I’m OK with not knowing. I just want to get better at the doing.

GEORGE SAUNDERS

Do Not Puzzle Your Reader Unnecessarily

Do not try to puzzle your reader unnecessarily; a puzzled reader is an antagonistic reader. Do not expect him to guess why a character does something or how it happens that some remark is made; it may be that you want him to stop and wonder for a minute; if so, make it perfectly clear that everything is going to be all right later on.

SHIRLEY JACKSON