Don't Overcrowd the Narrative

Don't overcrowd the narrative. Characters should be individualised, but functional – like figures in a painting. Think of Hieronymus Bosch's Christ Mocked, in which a patiently suffering Jesus is closely surrounded by four threatening men. Each of the characters is unique, and yet each represents a type; and collectively they form a narrative that is all the more powerful for being so tightly and so economically constructed.

SARAH WATERS

The Serial Comma Gives Starch to the Prose

If I worked for a publication that did not use the serial comma, I would adjust -- convert from orthodox to reform -- but for now I remain loyal to the serial comma, because it actually does sometimes prevent ambiguity and because I've gotten used to the way it looks. It gives starch to the prose, and can be very effective. If a sentence were a picket fence, the serial commas would be posts at regular intervals.

MARY NORRIS

Abandon Yourself to Mystery

I want my students to tack up a Samuel Beckett quotation on their office doors: “No matter. Try again. Fail again. Fail better.” The ability to fail is what distinguishes the ordinary writer from the great one. The one who actually wants to push herself or himself so far that they know they’re going to crash and burn. You must risk yourself in order to find out what it is you truly know. That usually means just abandoning yourself to mystery. Over time, the mystery itself will join these things together. Eventually, after weeks, or months, or years of not knowing, there will come a moment when you think, “Aw, yeah! That’s it! That’s it! That’s what I’ve been looking for!” The solution appears, so simple and so elegant that it almost seems mathematical. You think, “That's been staring at me for the past two years, three years. How come I couldn’t see it?” Well, the fact of the matter is you couldn’t see it because you can’t see the beautiful simplicity at first. You have to do a lot of messy work to get there.

COLUM McCANN

Brick by Brick

My goal when I sit down to write out of my own circumstances is not to make myself transparent. In fact, I am building an edifice. Stone by stone, I am constructing a story. Brick by brick, I am learning what image, what memory belongs to what. I am arranging the pieces that come my way, as Virginia Woolf suggests in her diary. I am attempting to make a piece of music as clear, as emotionally resonant and orderly, as a sonata. I am striving to make order out of chaos, which is the sweetest pleasure I know. When I succeed, I have a thing, this story, to offer. It isn’t me. It isn’t even a facsimile. I have used my life — rather than my life using me — to make something more beautiful and refined than I could ever be.

DANI SHAPIRO

Throw It Away

I shock creative writing students, their tutors even more, when I say I only ever write one draft. But it’s true. It just comes out of my head through my ears on to the page. I finish, correct and tidy up, and that’s it. If I get stuck, or reach the end knowing this one just doesn’t work, I throw it away. There’s always another idea or three waiting in the wings, or the notebook.

SUSAN HILL

We Empathize, We Project

I don’t think that a writer who writes about loss (if I do) needs to have suffered loss himself. We can imagine loss. That’s the writer’s job. We empathize, we project, we make much of what might be small experience. Hemingway (as usual, full of wind) said “only write about what you know.” But that can’t mean you should only write about what you yourself have done or experienced. A rule like that pointlessly straps the imagination, confines one’s curiosity, one’s capacity to empathize. After all, a novel (if it chooses) can cause a reader to experience sensation, emotion, to recognize behavior that reader may never have seen before. The writer’ll have to be able to do that, too. Some subjects just cause what Katherine Anne Porter called a “commotion in the mind.” That commotion may or may not be a response to what we actually did on earth.

RICHARD FORD