Writing fiction is about accumulating stuff — details about setting, details about clothing and behavior and actions and speech patterns and all the rick-rack of objects that we surround ourselves with. If you don’t like amassing this barge load of material, you may not be comfortable with fiction itself, or at least realist fiction, which has a tendency to fill up the page with accretive details.
CHARLES BAXTER
I have writer friends who spend a great deal of time outlining and detailing the biographies of their major characters. Through this process, I am told, they discover the motivations underlying actions taken by these players as they move across the stage of the novel. This may very well be a powerful and productive way to construct an Iago or Sister Carrie. It is, however, not my way of discovery. I meet my characters the way I encounter people in life—at a place and in a situation where I have less knowledge than I’d like and am almost always, at first, paying attention to the least important details. After that, I’m in discovery mode.
WALTER MOSLEY
I am going to be rather hard-nosed and say that if you have to find devices to coax yourself to stay focused on writing, perhaps you should not be writing what you're writing. And if this lack of motivation is a constant problem, perhaps writing is not your forte. I mean, what is the problem? If writing bores you, that is pretty fatal. If that is not the case, but you find that it is hard going and it just doesn't flow, well, what did you expect? It is work; art is work.
URSULA LeGUIN
Tell the story that’s been growing in your heart, the characters you can’t keep out of your head, the tale that speaks to you, that pops into your head during your daily commute, that wakes you up in the morning. Don’t write something just because you think it will sell, or fit into the pigeonhole du jour. Tell the story you want to tell, and worry about how to sell it later.
JENNIFER WEINER
Read yourself dizzy. Know how we got from there to here. Know how to recognize clear language, powerful language, evasive or pretentious language. Know stuff about a lot of different things.
JEFF GREENFIELD
Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn’t the writing; it’s the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?”
WILLIAM ZINSSER
A novel, in its truest form, is a questioning of what it means to be human, of what a life is. But what makes it different from, say, a work of philosophical inquiry is, among other things, the way it uses (or misuses, or differently uses) language and, second, the particular sense of discomfiture it can provide. Not that a novel needs to disturb or dismay or unsettle in order to mesmerize or provoke, but it does, or should, force us to reconsider, to rethink. The fiction writer’s bravery, then, is her dedication to never second-guessing the reader, even at the risk of her own book’s likability; the reader’s bravery is allowing himself to trust the writer, to surrender himself to the world she has created.
HANYA YANAGIHARA
It is my belief that the writer, the free-lance author, should be and must be a critic of the society in which he lives. It is easy enough, and always profitable, to rail away at national enemies beyond the sea, at foreign powers beyond our borders who question the prevailing order. But the moral duty of the free writer is to begin his work at home; to be a critic of his own community, his own country, his own culture. If the writer is unwilling to fill this part, then the writer should abandon pretense and find another line of work: become a shoe repairman, a brain surgeon, a janitor, a cowboy, a nuclear physicist, a bus driver.
EDWARD ABBEY
I do a lot of writing and note-taking on trips: in airports, on airplanes, on trains. I recommend taking public transportation whenever possible. There are many good reasons to do this (one’s carbon footprint, safety, productive use of time, support of public transportation, etc.), but for a writer, here are two in particular: 1) you will write a good deal more waiting for a bus or sitting on a train than you will driving a car, or as a passenger in a car; and (2) you will be thrown in with strangers—people not of your choosing. Although I pass strangers when I’m walking on a city street, it is only while traveling on public transportation that I sit thigh to thigh with them on a subway, stare at the back of their heads waiting in line, and overhear sometimes extended conversations. It takes me out of my own limited, chosen world. Sometimes I have good, enlightening conversations with them.
LYDIA DAVIS
I’ve always believed…that you never want to judge or condemn your characters on the page. Instead you want to reveal what they do in direct light and allow readers to come to their own conclusion. Literature isn’t about presenting a moral condemnation—rather exploring the complex feelings of human life.
ANNIE DeWITT
Writerly wisdom of the ages collected by the author of Advice To Writers, The Big Book of Irony, and The Portable Curmudgeon.
Copyright © Jon Winokur 2019-2025. All rights reserved. Website by Wei-Haas Creative.
The trademark AdviceToWriters® is registered in the U.S. Patent and Trademark Office.