Leave home. Because if you stay home people will ask you questions that you can't answer. They say, "What are you going to write? Where will you publish it? Who's going to pay you? How will you make a living?" If you leave home, no one asks you questions like that.
PAUL THEROUX
The first thing a writer has to do is find another source of income. Then, after you have begged, borrowed, stolen or saved up the money to give you time to write and you spend all of it staying alive while you write, and you write your heart out, after all that, maybe no one will publish it, and if they publish it, maybe no one will read it. That is the hard truth, that is what it means to be a writer.
ELLEN GILCHRIST
I think a writer’s voice is really his or her authentic, natural voice—the way she actually expresses herself and sees the world. But it takes time to get to that. I think the first many years of writing you tend to write the way you think you’re supposed to sound, and gradually (if you’re lucky) you begin dropping that affect and getting to what is your true voice. In time, you come to know that voice well enough that you know how to emphasize it, enrich it.
SUSAN ORLEAN
Copies have been dethroned; the economic model built on them is collapsing. In a regime of superabundant free copies, copies are no longer the basis of wealth. Now relationships, links, connections, and sharing are. Value has shifted away from a copy toward the many ways to recall, annotate, personalize, edit, authenticate, display, mark, transfer, and engage a work. Art is a conversation, not a patent office. The citation of sources belongs to the realms of journalism and scholarship, not art. Reality can’t be copyrighted.
DAVID SHIELDS
Short fiction is a special, very different discipline, often requiring at least as much skill and effort as novel-writing. And while it’s relatively easy to get away with a certain amount of bagginess and loose plotting when you’re writing a novel, those things become quickly and mercilessly apparent if you’re writing a short story.
JOANNE HARRIS
You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You've been backstage. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break up.
MARGARET ATWOOD
Never look at a reference book while doing a first draft. You want to write a story? Fine. Put away your dictionary, your encyclopedias, your World Almanac, and your thesaurus. Better yet, throw your thesaurus into the wastebasket. The only things creepier than a thesaurus are those little paperbacks college students too lazy to read the assigned novels buy around exam time. Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule. You think you might have misspelled a word? O.K., so here is your choice: either look it up in the dictionary, thereby making sure you have it right - and breaking your train of thought and the writer's trance in the bargain - or just spell it phonetically and correct it later. Why not? Did you think it was going to go somewhere? And if you need to know the largest city in Brazil and you find you don't have it in your head, why not write in Miami, or Cleveland? You can check it ... but later. When you sit down to write, write. Don't do anything else except go to the bathroom, and only do that if it absolutely cannot be put off.
STEPHEN KING
Just as composers go to concerts and artists visit galleries, writers read. You will learn, in the most enjoyable way, more about style and language from reading good literature than you will ever acquire from workshops and how-to books.
JUDITH BARRINGTON
The writers I like and trust have at the base of their prose something called the English sentence. An awful lot of modern writing seems to me to be a depressed use of language. Once, I called it “vow-of-poverty prose.” No, give me the king in his countinghouse. Give me Updike. Anthony Burgess said there are two kinds of writers, A-writers and B-writers. A-writers are storytellers, B-writers are users of language. And I tend to be grouped in the Bs. Under Nabokov’s prose, under Burgess’s prose, under my father’s prose—his early rather than his later prose—the English sentence is like a poetic meter. It’s a basic rhythm from which the writer is free to glance off in unexpected directions. But the sentence is still there. To be crude, it would be like saying that I don’t trust an abstract painter unless I know that he can do hands.
MARTIN AMIS
Part of the storytelling ability is simply the anticipation of boredom and the introduction of a sudden surprise. To be a good storyteller you need to have first internalized the audience: that subvocal groan that says, “Okay, get on with it.” Not that you always have to cater to the audience’s expectations: you can cross them up, frustrate them, prolong their tension, though that too can be a way of entertaining them. In any case, you have to be aware of their demands, whether you satisfy them or not.
PHILLIP LOPATE
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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