Never Tell Your Readers What Your Story Is About

Never tell your reader what your story is about. Reading is a participatory sport. People do it because they are intelligent and enjoy figuring things out for themselves.

GEORGE V. HIGGINS

Cut Like Crazy

Cut like crazy. Less is more. I've often read manuscripts–including my own–where I've got to the beginning of, say, chapter two and have thought: "This is where the novel should actually start." A huge amount of information about character and backstory can be conveyed through small detail. The emotional attachment you feel to a scene or a chapter will fade as you move on to other stories. Be business-like about it.

SARAH WATERS

Write What You Know

Write what you know. Every guide for the aspiring author advises this. Because I live in a long-settled rural place, I know certain things. I know the feel of a newborn lamb's damp, tight-curled fleece and the sharp sound a well-bucket chain makes as it scrapes on stone. But more than these material things, I know the feelings that flourish in small communities. And I know other kinds of emotional truths that I believe apply across the centuries.

GERALDINE BROOKS

Keep Going

The writers who are prepared to keep going are the ones who are going to make it. I can guarantee that a writer with 80 percent of the talent and 100 percent of the desire will be so much better than the person with 100 percent of the talent and only 80 percent of the desire. It always works that way.

COLUM McCANN

Stand Up for Punctuation

The reason it’s worth standing up for punctuation is not that it’s an arbitrary system of notation known only to an over-sensitive elite who have attacks of the vapors when they see it misapplied. The reason to stand up for punctuation is that without it there is no reliable way of communicating meaning.

LYNNE TRUSS

Have Faith in Your Writing

If you have faith in your writing, it’s easy. It’s when you remove that faith that things become difficult—when you start to think, this is stupid, this is idiotic, this is worthless, and so on. That’s the real fight: to overcome those kinds of thoughts.

KARL OVE KNAUSGAARD

Advice to Aspiring Co-Authors

Here's what you need to know before you agree to be a “co-author” for a celebrity or "expert":

1. Your “collaborator,” no matter how famous, will have a lot less expertise than promised, and you will have to do a great deal of research for which you'll receive neither credit nor compensation.

2. Your collaborator will not understand what writing involves, or how long it takes, or that a second draft is not a final draft (never show your collaborator a first draft) or that reading a chapter and making suggestions is not the same as writing it in the first place.

3. You and your collaborator will both believe that the work—and hence the money—has been unfairly divided.

4. In short, an amicable divorce is easier to pull off than a happy collaboration.

NANCY HATHAWAY

Writer's Block Is a Writer's Best Friend

Writer’s block is a writer’s best friend; it tells you you don’t know where you’re going. (“Would you tell me, please, which way I ought to go from here?” “That depends a good deal on where you want to get to,” said the Cat. – Lewis Carroll, Alice’s Adventures in Wonderland) Once you figure that out, you’re home free. Writer’s block simply saves you the trouble of writing until you do.

CARYL AVERY

The Truth Is We Write for Love

Despite all the cynical things writers have said about writing for money, the truth is we write for love. That is why it is so easy to exploit us. That is also why we pretend to be hard-boiled, saying things like “No man but a blockhead ever wrote except for money” (Samuel Johnson). Not true. No one but a blockhead ever wrote except for love. . . . You must do it for love. If you do it for money, no money will ever be enough, and eventually you will start imitating your first successes, straining hot water through the same old teabag. It doesn’t work with tea, and it doesn’t work with writing.

ERICA JONG

Writing Is a Performance

The first and perhaps the most important requirement for a successful writing performance—and writing is a performance, like singing an aria or dancing a jig—is to understand the nature of the occasion.

STEPHEN GREENBLATT