Let Go

First you look for discipline and control. You want to exercise your will, bend the language your way, bend the world your way. You want to control the flow of impulses, images, words, faces, ideas. But there’s a higher place, a secret aspiration. You want to let go. You want to lose yourself in language, become a carrier or messenger. The best moments involve a loss of control. It’s a kind of rapture, and it can happen with words and phrases fairly often—completely surprising combinations that make a higher kind of sense, that come to you out of nowhere. But rarely for extended periods, for paragraphs and pages—I think poets must have more access to this state than novelists do.

DON DeLILLO

You Learn What to Leave Out

You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight. You either  continue to write puerile bilge, or you change. In the process of simplifying oneself, one often discovers the thing called voice.

BILLY COLLINS

Two Ways of Looking at Writing

There are two ways of looking at writing. One way is that you’re telling a story transparently. The other is that you’re telling a story with language, and language is the point. How fast do you want your story to read? If it reads too fast then it might be superficial. A person reads it in five minutes, it’s all over.

JOYCE CAROL OATES

Perfectionism Is the Enemy of the People

Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life, and it is the main obstacle between you and a shitty first draft. I think perfectionism is based on the obsessive belief that if you run carefully enough, hitting each stepping-stone just right, you won't have to die. The truth is that you will die anyway and that a lot of people who aren't even looking at their feet are going to do a whole lot better than you, and have a lot more fun while they're doing it.

ANNE LAMOTT

The Secret of Good Writing

The secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that’s already in the verb, every passive construction that leaves the reader unsure of who is doing what—these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to the education and rank.

WILLIAM ZINSSER

Writer's Block Is a Tool

Writer’s block is a tool — use it. When asked why you haven’t produced anything lately, just say, “I’m blocked.” Since most people think that writing is some mystical process where characters “talk to you” and you can hear their voices in your head, being blocked is the perfect cover for when you just don’t feel like working.

COLSON WHITEHEAD

There Are No General Rules

The advantage of reading widely, as opposed to trying to formulate a series of general rules, is that we learn there are no general rules, only individual examples to help point you in a direction in which you might want to go.

FRANCINE PROSE

It's Performance

I wrote stories from the time I was a little girl, but I didn't want to be a writer. I wanted to be an actress. I didn't realize then that it's the same impulse. It's make-believe. It's performance. The only difference being that a writer can do it all alone. I was struck a few years ago when a friend of ours—an actress—was having dinner here with us and a couple of other writers. It suddenly occurred to me that she was the only person in the room who couldn't plan what she was going to do. She had to wait for someone to ask her, which is a strange way to live.

JOAN DIDION

You Don't Try

You don't try. That's very important: not to try, either for Cadillacs, creation or immortality. You wait, and if nothing happens, you wait some more. It's like a bug high on the wall. You wait for it to come to you. When it gets close enough you reach out, slap out and kill it. Or if you like its looks, you make a pet out of it.

CHARLES BUKOWSKI

Three-Act Structure

The three-act structure is the form that I grew up in the theater with. You generally present a situation in Act I, and by the end of Act I the situation has evolved to a point where something is threatening the situation. In Act II you solve that problem producing a more intense problem by the end of Act II. In Act III you solve that problem, either happily or unhappily, depending on whether you have a comedy or a tragedy or a drama: you work out the final solution accordingly.

PADDY CHAYEFSKY