Just Write

If you start to edit as you write, you are climbing into your “editor” self, the self that reads. You’ve done plenty of reading, you don’t need practice right now. Just write.

SANDRA JENSEN

All of Us Need an Editor

Editing is mostly a process of taking stuff that’s pretty good—or maybe terrific or potentially terrific—and working with the author over problems that come up: problems of tone, problems of clarity, problems of length, problems of one part fitting with another. Why has it suddenly gotten so much bigger here? What this person is saying doesn’t seem to match what she said when we first met her. Something’s happened, there’s a sag here, the energy’s gone out of the story—whatever, there are thousands of things. And young writers were terrified of this—they thought you were ruining their lives. But all writers come to absolutely depend on it. All of us, everywhere, need an editor—every single writer in the world needs an editor, or more than one.

ROGER ANGELL

Works in Progress

There is neither a proportional relationship, nor an inverse one, between a writer’s estimation of a work in progress and its actual quality. The feeling that the work is magnificent, and the feeling that it is abominable, are both mosquitoes to be repelled, ignored, or killed, but not indulged.

ANNIE DILLARD

Great Writers Are Great Readers

It’s no secret that great writers are great readers, and that if you can’t read, your writing will often suffer. Similarly, if you can read but have to move your lips to get through the longer words, you’ll still be a pretty bad writer. Also, if you pronounce “espresso” like “expresso.”

COLIN NISSAN

Streamline Your Message

Nobody—not even your dog or your mother—has the slightest interest in your commercial for Rice Krispies or Delco batteries or Preparation H. Nor does anybody care about your one-act play, your Facebook page or your new sesame chicken joint at Canal and Tchoupitoulas. It isn’t that people are mean or cruel. They’re just busy. Nobody wants to read your shit. What’s the answer? 1) Streamline your message. Focus it and pare it down to its simplest, clearest, easiest-to-understand form. 2) Make its expression fun. Or sexy or interesting or scary or informative. Make it so compelling that a person would have to be crazy NOT to read it. 3) Apply that to all forms of writing or art or commerce.

STEVEN PRESSFIELD

The World Is Funny

I feel that when you look out into the world, the world is funny. And people are funny. And that people always try to make each other laugh. I’ve never been to a dinner party where nobody said anything funny. If you’re going to ignore that [writing fiction], what are you doing?

LORRIE MOORE

Art Is a Conversation, Not a Patent Office

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

Writing Isn't Meant to Be Sedentary

I spend a good deal of time just in solitude. I’ve always favored studies with a window that looks out into a back lawn, or into some trees, or a garden…. For an enchanted time, I had a window on the 24th floor of an apartment building near NYU, and this was a truly magical interlude, enshrined in the concluding chapters of my next novel, A Book of American Martyrs. A good deal of my imagining time is spent on my feet, however, since I like to walk quickly, and I like to run, whenever possible. Writing isn’t really meant to be a sedentary art, I think. Being in motion is stimulating to the soul.

JOYCE CAROL OATES

The Subtraction of Weight

My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.... Maybe I was only then becoming aware of the weight, the inertia, the opacity of the world--qualities that stick to writing from the start, unless one finds some way of evading them.

UMBERTO ECO

Local Color

People say I know New York well. Just change 23rd Street in one of my New York stories to Main Street, rub out the Flatiron Building, and put in the Town Hall and the story will fit just as truly in any up-state town. At least, I hope this can be said of my stories. So long as a story is true to human nature all you need do is change the local color to make it fit in any town North, East, South, or West. If you have the right kind of an eye — the kind that can disregard high hats, cutaway coats, and trolley cars — you can see all the characters in the Arabian Nights parading up and down Broadway at midday.

O. HENRY